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After a long and arduous winter, it’s time to bask in the sunshine. We want you to have a fulfilling summer season, and for that reason we’ve packed this issue with the best of what’s to come: faraway festivals (for the avid music fan) and the most enticing reads, exhibitions, movies, and so forth. Get to know the faces from Sundance about to blow up the silver screen with their engaging, much-ballyhooed performances (Shailene, Schwartzman, Boyd, Brit, and more…if you don’t know their names yet, you certainly will soon). Aside from providing these inside scoops, we’re also serving up a visual feast of glamorous couture (photographed by Nick Knight and expertly styled by Amanda Harlech), plus Pre-Fall’s greatest hits, in a stellar shoot by Collier Schorr and Mel Ottenberg, starring the always-alluring Rosie Huntington-Whiteley. The Pre-Fall collections, which are in stores now, are among the most wearable of any season, so pick up your preferred looks now. Not sure what to buy? Let the trends on page 66 be your guide. Looking for an interesting beach read? Turn to Brooke Candy, on page 96, who initially shot to fame as a dancing cyborg goth in the video for Grimes’s hit single “Genesis” and is now experiencing her own ascent as a rapping pop star, with Sia producing her tracks. The stunning shoot was conducted by none other than Steven Klein and styled by Nicola Formichetti. And, of course, who better to cap of this season of everlasting glow than the eternally youthful Material Girl, accompanied by pop’s reigning princess of the charts? In a worldwide exclusive, V Magazine and Steven Klein come together again to capture Madonna and Katy Perry in their element, under the sartorial eye of Arianne Phillips. Did you know that these two, the most famous acts on the planet, are also fast friends? Here, they delve into the importance of being creatively liberated, in a celebration of music, fashion, and artistic freedom. After all, isn’t that what summer is all about? Ms. V
s a d d l e u p
PhotograPhy jim krantz Fashion anna trevelyan lexi wears clothing and accessories chanel from the paris-dallas collection
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Photography Jim Krantz Fashion Anna Trevelyan
r a i n b o w editor-in-chieF / creative director Stephen Gan editor Sarah Cristobal Senior editor Patrik Sandberg Managing director Steven Chaiken art director Cian Browne creative ServiceS director Jennifer Rosenblum Photo & bookingS editor Spencer Morgan Taylor deSign Alexa Vignoles Alexander McWhirter online editor Natasha Stagg Market editorS Michael Gleeson Mia Solkin FaShion aSSociate Julian Antetomaso caSting Samuel Scheinman contributing FaShion editorS Carlyne Cerf de Dudzeele Melanie Ward Nicola Formichetti Joe McKenna Jane How Panos Yiapanis Beat Bolliger Olivier Rizzo Clare Richardson Jacob K Andrew Richardson Jonathan Kaye Tom Van Dorpe Senior FaShion editor Jay Massacret contributing editorS / entertainMent Greg Krelenstein Kate Branch / Starworks editor-at-large Derek Blasberg contributing editorS Kevin McGarry T. Cole Rachel Nicole Catanese coPy editorS Jeremy Price Traci Parks Anne Resnik aSSociate PubliSher Jorge Garcia firstname.lastname@example.org advertiSing Manager Vicky Benites email@example.com 646.747.4545 advertiSing oFFice, italy and Switzerland Magazine International / Luciano Bernardini de Pace +39.02.76.4581 magazineinternational.it advertiSing rePreSentative Jef Greif 212.213.1155 advertiSing aSSiStant Sacha Breitman SPecial ProjectS Jennifer Hartley coMMunicationS Samantha Kain / Purple PR 212.858.9888 diStribution David Renard reSearch editor Lela Nargi Production director Melissa Scragg Production aSSociate Gina Wang Financial coMPtroller Sooraya Pariag aSSiStant coMPtroller Ivana Williams aSSiStant to the editor-in-chieF William Defebaugh adMiniStrative aSSiStant Wyatt Allgeier conSulting creative / deSign direction Greg Foley internS Robyn Arteaga David Cerami Ava Chambers Alexia Elkaim Tania Farouki Madison Finley Ronnie Hartleben Soo Jin Jung Amanda Lang Ian Monroe Anais Raynaud Nikki Refghi Natasha Villarraga McLayne Ycmat
v89 Steven Klein Nick Knight Hedi Slimane Arianne Phillips James Franco Collier Schorr Amanda Harlech Mel Ottenberg Mark Abrahams Jason Schmidt Jim Krantz Dan Forbes Anna Trevelyan Alex Franco Gillian Wilkins Keegan Singh Ben Weller Celestine Cooney Robin Broadbent Grant Singer Akeem Smith Mason Poole Djuna Bel Kenji Toma Hanna Kelifa Mark Jacobs Carrie Battan Kyle Buchanan Jerico Mandybur Ashley Simpson Christopher Tennant SPecial thankS Adam Sherman Jennifer Lee Alex Lockett Art Partner Giovanni Testino Amber Olson Marianne Tesler Candice Marks Lindsey Steinberg Charlotte Knight Lyonel Tollemache Georgina Talbot Kim Pollock Yann Rzepka Art + Commerce Jimmy Moffat Philippe Brutus Amanda Fiala Streeters Tal Ben-Oni Deanna Archer Robin Jafee Artist Commissions Shea Spencer Total Justinian Kfoury Jordan Sternberg Home Agency Christine Lavigne CLM Heath Cannon Heather Robbins Jasmine Kharbanda Jed Root Inc. Kelly Penford Rachel King Trouble Management CXA Jordan Nystrom D+V Julian Watson Agency Chuck Fiorello Management Artists Micole Rondinone Kozva Rigaud Premier Hair and Makeup Paul Lonergan The Wall Group Kate Stirling Alison Bird Leela Veeravalli Melissa Moscovitch Tracey Mattingly Jared Lewis Celestine Agency Cartel & Co. Giant Artists BRIDGE Bridget Flaherty Factory Downtown Streeters London IMG Ivan Bart Jen Ramey Maja Chiesi Mina White Jonathan Bender FORD NY Natalie Smith Julien Miachon-Hobson The Society Cheri Bowen Christopher Michael George Speros Epilogue Imaging Ltd. Tom Wandrag 232 Studio Brent Adams Gloss NY RND Guillaume Dulermo Dtouch Lutz + Schmitt ROOT Studios Siren Studios Bulb Studio Dalston Pier Chiltern Firehouse Lucy McIntyre Ian Telford
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30 GLOBAL DISPATCH Armani’s Oscar fête, Balmain raises the roof with Rihanna, Ferragamo’s elegant San Fran soiree, Bulgari glitters in L.A.
66 FASHION FOR DAYS From the textured to the tribal to the graphic to the purely animalistic, there’s a perfect Pre-Fall look for any occasion
32 HEROES Hedi Slimane captures three legendary L.A. residents, Jennifer Herrema, Linda Perhacs, and Gary Numan, as some of their highest-profile fans pay them tribute
68 GET LUCKY Dip your claw into a trove of plushy pleasures and you might come away with the grab-bag grand prize!
36 V WORLD Fix your focus on the talents grabbing our attention now: singer Jhené Aiko, actress Ella Purnell, and the inimitable Miss Jody Watley
72 PUTTIN’ ON THE SPRITZ The new season is perfect for new silhouettes, but it’s an even better time to reinvent your signature scent
40 V GUIDE TO SUMMER Get excited! The sexiest season has finally arrived. Get to know the festivals, albums, books, exhibits, and movies not to miss in the summer months ahead
73 SHINE ON Touch up, spray on, or slick down for a complexion correction worth its weight in gold
44 JAMES FRANCO’S PALO ALTO Franco speaks with Gia Coppola, Emma Roberts, Jack Kilmer, and Nat Wolff, the team turning his short stories into cinema 50 THE SUNDANCE KIDS V’s iconic Sundance Portfolio returns! See who Mark Abrahams caught up with in Park City, Utah, and hear from them about the current state of independent film 58 WORK IN PROGRESS For the past 14 years, Jason Schmidt has captured Richard Prince, Kim Gordon, and over 300 other artists. For his series’ swan song, the photographer looks back on some of his most incredible moments in V 64 V NEWS Cerf ’s up for Giuseppe Zanotti, M.A.C gets fluid, Chanel lays a new foundation, Topshop is Mossy once more, Stella is the dream jeanie, and Ferragamo’s got a brand-new bag, baby
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76 THE ELEGANT UNIVERSE BY NICK KNIGHT This couture season has brought returns, reinventions, and now a digitally remixed vision from Nick Knight and Amanda Harlech 96 CANDYLAND BY STEVEN KLEIN This provocative Candy girl wants to take over the entire world. Hear Brooke Candy explain why pop needs a kick in the ass. Styled by Nicola Formichetti 108 HONEY, I’M HOME BY COLLIER SCHORR Rosie Huntington-Whiteley hits the L.A. suburbs in sultry, executive style. Consider it a lesson in power undressing. Styled by Mel Ottenberg 116 MADONNA AND KATY PERRY BY STEVEN KLEIN Exclusively for V, the two pop divas give us the down and dirty scoop on the state of artistic freedom and how a song can still save your life. Styled by Arianne Phillips 128 LAST WORD BLASBERG: LILY ALLEN Derek Blasberg gets unladylike in London with the U.K.’s sharpest chart-topping sensation
Photography Jim Krantz Fashion Anna Trevelyan Makeup Ayami Nishimura Hair Kenshin Asano (L’Atelier NYC) Model Lexi Boling (FORD NY) Manicure Naomi Yasuda (Streeters) Stylist assistant Madison Finley Retouching Dippin’ Sauce Catering Monterone Location ROOT Studios
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roberta armani fÊtes her fellow italians martin scorsese and paolo sorrentino and their oscar nominations with a party at giorgio armani’s beverly hills boutique Top row, from left: Joshua Jackson, Cate Blanchett, Martin Scorsese, Jamie Foxx, Olivia Munn, Samuel L. Jackson Bottom row, from left: Isabel Lucas, Dianna Agron, Roberta Armani, Paolo Sorrentino, Aubrey Plaza, Patricia Clarkson, Anna Kendrick
pour it up
a beautiful bevy of models, designer friends, and one immodestly dressed campaign star (rihanna) toast balmain’s olivier rousteing and his fabulous fall collection with a raucous party at the crazy horse in paris Top row, from left: Magdalena Frackowiak, Emily DiDonato, Karlie Kloss, Kris Van Assche, Constance Jablonski, Sebastian Jondeau, Nadja Bender Bottom row, from left: Richard Chai, Phillip Lim, Joan Smalls, Olivier Rousteing, Rihanna, Rosie Huntington-Whiteley, Jessica Alba
west coast revelry
Top row, from left: Vincent Ottomanelli, Diego di San Giuliano, Lauren Remington Platt, Lily Kwong, Claiborne Swanson Frank, Lydia Fenet, Marissa Mayer, Trevor Traina, Alexis Traina Bottom row, from left: Ashley Wick, Rosetta Getty, Douglas Friedman, Vanessa Getty, Balthazar Getty, Liz Goldwyn, Dita Von Teese, Dylan Penn
soho house was all a twinkle when the impeccable naomi watts hosted bulgari’s “decades of glamour” oscar party in los angeles with a few of her fabulous friends Top row, from left: Dianna Agron, Jeremy Renner, Erin Wasson Bottom row, from left: Tom Welling, Marcia Gay Harden, Emmy Rossum, Ashley Greene, Camilla Belle, Naomi Watts, Kate Hudson 30 v magazine
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decked out in finery by salvatore ferragamo, stylish swans and handsome gents attend the mid-winter gala in support of the fine arts museums of san francisco
THOUGH THEIR SOUNDS aRE INDISPUTaBLY DIFFERENT, THESE THREE MaSTERFUL MUSICIaNS, aLL PHOTOGRaPHED BY HEDI SLIMaNE, SHaRE THE STaTUS OF ICON aND HavE MaDE LOS aNGELES THEIR HOME. HERE, THEY aRE FÊTED BY aRTISTS WHOSE CaREERS THEY INSPIRED photography hedi slimane
jennifer herrema by liza thorn The frst time I heard Jennifer Herrema I was a high school senior living in San Francisco. This really cool guy that I knew gave me a dubbed cassette copy of Royal Trux’s Twin Infnitives, which I had never even heard of before. So I went and looked them up and was immediately blown away by what Jennifer was all about. She’s like a creature from another planet—the planet of rock and roll. She’s just such a tremendous inspiration. I mean, what were you doing when you were 20 years old? Jennifer Herrema was playing in Royal Trux, the baddest rock band in the entire fucking world. What you see is what you get with her. She’s so badass and fun and completely cool. People like her—people who are just 100 percent legit—are so rare in this world. She’s just a bad, bad motherfucker. There is no one to really even compare her to, you know? Bitches try to rip her style, but it just can’t be done. She’s brilliant and beautiful and there is literally no one else in the world like her. The frst time I met her was at one of her shows. She was standing outside the venue smoking a cigarette in this particular way that only she can. She was smoking in the rain and somehow her cigarette wasn’t going out. So anyway, I got drunk enough—brave enough—to ask her if she and the band wanted to crash at my house that night, which she agreed to do only because somebody in the band was allergic to cats and I didn’t have one. We all got very drunk and I basically woke up the next day with her asleep in my bed. The rest is history. We’ve been friends ever since. jennifer herrema in los angeles, january 2014 herrema’s current band, black bananas, releases electric brick wall on june 24, from drag city 32 V magaZine
Production Kim Pollock and Yann Rzepka
linda perhacs by Julia holter I frst heard Linda’s music when friends of mine put on her frst live show ever, at the REDCAT theater in downtown L.A., and they invited me to participate. Her 1970 album, Parallelograms, spoke to me immediately. It’s timeless and one of those rare instances where poetry, experimentation, and production go hand-in-hand. Her voice on the record is virtuosic in its range and depth, the words are so rich in imagery, yet unpretentious and intimate, and the harmonies and melodies work so well together. The production is
so efcient and meticulous—there is not too much; things only happen when they need to happen. Listening to Linda feels like watching a huge Google satellite zoom out. It’s a really big perspective on the world and the nourishment it needs. Linda perhacs in Los angeLes, january 2014 perhacs’s The souL of aLL naTuraL Things is ouT now from asThmaTic kiTTy
gary numan by robert alfons I can still remember the frst time I heard those early recordings (“Are ‘Friends’ Electric,” “Metal,” “M.E.”). Even to this day, they are untouchable. Everything about them is otherworldly: the lyrics, the production, the whole aesthetic. Remembering those Top of the Pops outfts, he was an alien! He was absolutely successful with that delicate balance of making dark, frightening, gritty industrial music totally inviting and catchy. The melodic phrasing of “Metal”
stumbles brilliantly and yet falls so gracefully in place with the song’s pulse. It’s a perfect example of what he did best. He’s also responsible for my favorite version of Erik Satie’s “Gymnopédie No. 1.” ALL INTERVIEWS AS ToLd To T. CoLE RAChEL Gary NumaN iN los aNGeles, jaNuary 2014 NumaN’s spliNter (soNGs from a brokeN miNd) is out Now from machiNe music
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JHEN E A IK O AFTER YEARS SPENT TRYING TO MAKE IT ON HER OWN, THE COMELY SINGER-SONGWRITER FOUND HER PLACE IN THE SPOTLIGHT, THANKS TO A DREAMY DUET WITH DRAKE. NOW SHE’S RELEASING HER DEBUT ALBUM, WITH THE WHOLE WORLD WATCHING You may not know her name, but you know her voice. Over the past couple of years, 26-year-old R&B singer-songwriter Jhené Aiko has lent her feathery lilt—and the woozy, intoxicating mood it creates—to the tracks of some of rap’s biggest players. There was the rusty, soothing lull on Big 36 V MAGAZINE
Sean’s “Beware,” the deeply emotive whisper underlying Namiko Love, at age 20, that changed everything. “It gave Kendrick Lamar’s “Growing Apart,” work with Childish me drive. You have to make decisions: how am I going to Gambino, Wale, J. Cole, you name it—and who could for- support this child?” she says. “I decided to focus on music. get that heartrending, all-too-numbing hook (“I love me, I knew it would pay off.” I love me enough for the both of us”) the lithe West Coast Five years later, Aiko’s long-simmering ambition has stunner delivered on Drake’s “From Time.” delivered. She’ll drop her debut album, Souled Out, via “Rappers and I have similar stories, just because of Def Jam, in May. “Things are starting to change, but I’m where I come from, how I grew up, and my love of lyricism,” such a normal person that I think it will always be cool,” she says over the phone from her native L.A., referencing she offers. For now, Aiko’s focusing on telling the totality her disjointed but loving, expansive multiethnic family of her story, not a collaborator’s. It’s a narrative that will and independent city-kid upbringing. “[The collabora- take shape through layered references to relationships tions] make sense.” gone wrong, the loss of her brother, her once-absent Aiko grew up fast. “I got signed to [Sony’s] Epic father, “peace, love,” and the occasional late-night blunt, Records when I was 12—a sort of developmental deal,” all rendered in the low-lit, hazy range of Souled Out. “I’m she explains. “I was really young. I didn’t know any dif- just really sharing my real stories, you know?” she says. ferent.” The artist stuck with it for “two or three years,” “I’m very open-minded. I’m changing every day. And I’m recording demos, listening to “lots of Tupac, Dr. Dre, ’90s not ashamed. I just think it’s boring to try to pretend to R&B. I loved Brandy too. As soon as I heard her voice, I be perfect.” ASHLEY SIMPSON was like, If I had to pick a voice…” She also signed with B2K, before realizing that “they didn’t really believe in JHENÉ AIKO IN LOS ANGELES, JANUARY 2014 me as an artist. And I wanted to do regular things.” PHOTOGRAPHY GRANT SINGER FASHION AKEEM SMITH High school, two years studying at a local community DRESS DONNA KARAN JEWELRY HER OWN college, and waiting tables at a vegan café in Westwood SOULED OUT IS AVAILABLE IN MAY FROM DEF JAM Village followed. It was giving birth to her daughter, TO SEE MORE OF THIS SHOOT, GO TO VMAGAZINE.COM
Makeup Jamallie Bradley Hair Yusef (Factory Downtown) Photo assistant Taylor Lorentz Stylist assistant Lauren Avery
E LLA P U RN E L L AS THE YOUNGER ANGELINA JOLIE IN MALEFICENT, ELLA PURNELL CASTS A DREAMLIKE SPELL. STAND BACK, YOU FOOLS! AND WATCH HER UNLEASH ALL THE POWERS OF HELL “There’s a joke in my family that I’m going to make a career out of playing other people’s younger selves,” jokes 17-year-old actress Ella Purnell. “I played the younger Keira [Knightley], now I’m playing the younger Angelina. I mean, it’s a good track record, right?” The London native is making light of being cast by executive producer and lead actress Angelina Jolie in this season’s brooding Disney blockbuster Maleficent. Though the two have never met, Jolie handpicked the fashion-adoring actress during the film’s reshoot stage. Purnell, who had originally auditioned for the role of Princess Aurora (which eventually went to Elle Fanning), was not expecting the call, finding out about her appointment while recovering from a hospital stay for appendicitis. “I was sitting at home with greasy hair, with like operation stuff, half conscious, coming off the anesthetics,” she says. Soon she was flying harnessed, with layers of bandages covering her fresh scars. It was just another droll moment in a young, adventure-filled career that includes a narrowly missed bear attack in 2013’s WildLike and throwing up on cue for Kick-Ass 2. “I don’t know if you’ve ever projectile vomited on someone’s face, but it’s really satisfying,” she says. In between directing a school play, working two jobs, and acting, the eldest daughter of four, like her Hollywood counterpart, spends time considering cinema through the lens of social progress. “I want to be a part of a movie that changes people’s conceptual framework and suddenly you see things in a different way,” she says. Perhaps that could be a good talking point when she finally meets her maker, at the Maleficent premiere. “I’ll meet Angelina and be like, ‘Hi. I’m you.’ That’s a good conversation starter.” JERICO MANDYBUR ELLA PURNELL IN LONDON, FEBRUARY 2014 PHOTOGRAPHY BEN WELLER FASHION CELESTINE COONEY MALEFICENT IS IN THEATERS MAY 30 TO SEE A VIDEO OF THIS SHOOT, GO TO VMAGAZINE.COM
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so glamorous. Eat your heart out, Karl Lagerfeld.” Watley fashion chick that’s just diferent. And not everybody likes shot the music video for “Nightlife,” the clubby lead sin- her. And not everybody liked me. Because with me it was gle of of her new album, Paradise, at Giorgio’s. “I want like, ‘You don’t smile, you’re a black girl, you’re glamorous, to inspire people, because people get stuck in a rut,” she and you’ve got this cold-as-ice stare.’” While in London says of the music. “‘Oh, I’m not going out. Oh, the good ole she sought out designers like Azzedine Alaïa, Claude days...’ And it’s so frustrating. It’s like, make new memo- Montana, Vivienne Westwood, and Jean Paul Gaultier. ries! Even if you had a great time ten, twenty, thirty years “I bought one of the frst cone bras, pre-Madonna. It’s on ago, be fabulous now! You’re alive. Hello!” the single sleeve of “Don’t You Want Me.” I also bought The daughter of a Chicago minister, Watley frst per- the huge one that she ended up wearing, but the underformed onstage as a child with her godfather, the incredible stated one was more me,” she says. crooner Jackie Wilson. After relocating to Los Angeles, With her gorgeous mane, lean frame, stunning brows, she succeeded at her mission to become a Soul Train illegal cheekbones, and ballsy attitude, Watley was the regular. In 1977, Don Cornelius, the show’s creator and perfect subject for fashion’s top photographers. “[When host, selected her to be an original member of the disco I frst started,] the label didn’t want to fy me to New super-trio Shalamar, which would record world-class York for my frst layout with Harper’s Bazaar,” she laughs. dance-foor anthems like “The Second Time Around” and “So I few myself to shoot with Scavullo!” Steven Meisel “A Night to Remember.” Watley left the group after six photographed the cover of her 1989 follow-up album, years, moved to London, and recorded “Do They Know Larger Than Life. The video for “Real Love” was directed It’s Christmas?” with Band Aid. by David Fincher and featured her ruling the runway in Jody Watley is at Giorgio’s, the exclusive Saturday party at After returning to Los Angeles three years later, she menswear, paving the way for future acts like Aaliyah The Standard in Hollywood, where Mick Jagger and Andre signed with MCA Records and released her 1987 solo album, and TLC. Harrell mix, and David LaChapelle might be spotted with Jody Watley, cowriting a handful of tracks. It contains some “I never wanted to be like anybody else,” says Watley, Daphne Guinness on his lap. Watley is the queen of the of her most enduring dance music, including the lead single who, in the decades that followed, never stopped recordvenue—she holds court almost every week, just past DJ “Looking for a New Love” (which features the popular pre- ing, performing, and changing up her style and sound. Adam XII’s booth, with her friend and Decades cofounder Terminator 2 kiss-of “Hasta la vista, baby”), “Don’t You Now she’s writing a memoir, which she plans to fnish Christos Garkinos. Tonight, the mother of two, a self- Want Me,” and “Some Kind of Lover.” She accepted her this year. “I can only be who I am. Because to me that’s described “basketball mom, carpool mom, fabulous mom,” 1988 “Best New Artist” Grammy—winning over Breakfast what street is. Street is real.” Mark Jacobs wears all black, save for a pair of crystal Jimmy Choo Club, Cutting Crew, Swing Out Sister, and Terence Trent pumps. When she’s in the mood, she’ll fan herself on the D’Arby—in a vintage dress and a biker jacket painted with jody watley in los angeles, december 2013 dance foor—something she has done since beginning her her likeness. photography Mason poole fashion dJuna bel career as a dancer on Soul Train, as a teenager. “I always “When I signed to MCA, I didn’t see anybody like who coat salvatore ferragaMo s/s 2014 have my little fan action,” the icon says with a smile. “It’s I wanted to be,” she says. “I wanted to do that badass Paradise is available in june from avitone
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V GUIDE TO SUMMER atP iceland keflavík, iceland (July 10–12) Located in Ásbrú (a former NATO base), the Icelandic edition of the popular “All Tomorrow’s Parties” series of festivals gives attendees the chance to see Portishead and Swans in what is one of the world’s most beautiful—and unusual—settings.
sasquatch! george, washington (May 23–25) Taking place at the spectacular Gorge Amphitheater—ranked as one of the best outdoor music venues in the world—Sasquatch! ofers a particularly eclectic array of artists, and is one of the only festivals where you can see venerable acts like the Violent Femmes and freakrappers Die Antwoord play on the same stage.
t in the Park balado, kinross-shire, scotland (July 11–13) This massive three-day festival is known for booking mostly U.K.–friendly acts and having its own Ferris wheel. This year Arctic Monkeys, Calvin Harris, and Bify Clyro are headliners.
Mutek Montreal, quebec (May 27–June 1) A celebration of electronic music and new media, Mutek is a sprawling six-day afair that allows visitors the chance to see some of the world’s most cutting-edge electro artists, including Oneohtrix Point Never and Nicolas Jaar.
M US I C F E S T IV AL S
oPtiMus PriMavera sound Porto, Portugal (June 5–7) This year the folks behind Barcelona’s famous Primavera festival are bringing their expertise to Portugal. The three-day festival will feature international acts like Dum Dum Girls and the Pixies, as well as a variety of local musicians.
everyone goes to glasto. Make your suMMer sing with soMe of the More offbeat festivals of the season
Jabberwocky london, u.k. (august 15–16) The lineup for the inaugural outing of this festival—which was put together by the folks at Pitchfork, Primavera, and ATP—boasts performances by Neutral Milk Hotel, James Blake, and Perfect Pussy.
the great escaPe brighton, u.k. (May 8–10) One of Europe’s best festivals for discovering new music, the Great Escape unfolds in a variety of Brighton venues clustered near the seaside. It’s the perfect experience for those who enjoy both club hopping and chilly walks on the beach.
text t. cole rachel
NEW R EL EA SES
from r&B to country, hip-hop to pop, these are the alBums that will emBed themselves in your summer psyche. push play now teXt carrie Battan
lykke li, i never learn Heartbreak takes center stage on the Swedish indie-pop princess’s third album (and her frst since 2011). Created in the wake of a serious breakup, the record has an intimate, homespun feel that favors somber acoustics over cascading synth-pop. Strip Lykke Li bare and you’ve got some of her best songwriting and most gut-wrenching storytelling yet. roskilde roskilde, denmark (June 29– July 6) Hosting up to 160 diferent bands on a variety of stages over the course of a week, Roskilde is largely considered the granddaddy of the European festivals. Not for the faint of heart or those with a fear of dancing in the mud.
the Pains oF Being Pure at heart, days oF aBandon Nobody manages to blend the intricately twee sensibilities of Belle and Sebastian, the big goth-pop gloss of the Cure, and woozy shoegaze quite like the Pains of Being Pure at Heart. Produced by Andy Savours—who’s worked with My Bloody Valentine and Sigur Ros—the band’s third LP strikes a heartrending balance between dizzying homegrown guitar pop and big-league polish.
michael Jackson, XscaPe In the fve years since his death, we’ve seen a lot of posthumous Michael Jackson releases. But this one is perhaps the most exciting—the famed Epic Records CEO L.A. Reid has teamed up with Timbaland to add a contemporary fnish to eight songs from Jackson’s catalogue. M.J.’s legacy needs good hands, and it’s found them on XSCAPE. Get ready to dance.
oFF Festival katowice, Poland (august 1–3) This huge, multistage spectacular takes place in the “valley of the three ponds,” a sprawling, wooded park just outside of Katowice, making it the perfect place to see Belle and Sebastian this summer.
sohn, tremors The British producer, who fuses the ultrasmooth, easy-listening sensibilities of an act like Rhye with more urgent click-drum production, brings his arsenal of charms into sharp focus on this debut album. He’s remarkably versatile as both a producer and a vocalist, touching on something that’s slick without sounding calculated, achieving soulfulness and intimacy without sacrifcing expansiveness.
dolly Parton, Blue smoke Listening to Blue Smoke, you wouldn’t know Dolly Parton has made 40-some-odd albums over fve decades. The record fnds her revisiting a simpler bluegrass sound and covering Bob Dylan with the spritely enthusiasm of a 17-year-old new to Nashville: “I’m thirsty, I’m hungry, my heart’s breaking,” she croons on the up-tempo “Lay Your Hands on Me.” You don’t doubt her for a second.
Jabberwocky: © Thomas Borberg/AP/Corbis OFF: © Thomas Frey/dpa/Corbis
sam smith, in the lonely hour You probably know the 21-yearold Brit from his soaring power vocals on some of the biggest soulful dance hits of the last few years, including Disclosure’s “Latch” and Naughty Boy’s “La La La.” His debut album gives him a bit more space to deliver his voice, in gentle dollops, while still delivering its rich, love-struck potency.
PinkPoP Festival landgraaF, netherlands (June 7–9) This three-day, multigenre festival draws up to 60,000 fans per day, who this year will be swarming the gates to see everyone from Arcade Fire to Metallica.
Future, honest In the last couple of years, Atlanta’s master of Auto-Tune has proven he can conquer pulverizing street rap and warped, alien-feeling R&B alike. On his second album—which features Pusha T, Kanye West, Drake, and Pharrell—he’s setting out to prove he doesn’t have to choose between them. He moves efortlessly from the sexy, heartfelt warble of “Honest” to the punch-youin-the-face adrenaline of “Covered N Money.” No sweat.
sia, 1000 Forms oF Fear Australia’s Sia Furler has been such a consistent background fgure in pop music in recent years—she’s worked on everything from Beyoncé’s “Pretty Hurts” to Rihanna’s “Diamonds”—that it’s easy to forget she’s a solo pop singer at heart. But she makes no bones about her vocal prowess on her new album, riding huge pop highs and raspy soul bottoms that show she’s more of a center stage star than she’s given herself credit for being. V MAGAZINE 4 1
SUMMER R EA D S
whether you’re sizzling on the beach or kicking it in the country, you won’t want to miss the fine print in these new tomes text chRistopheR tennant Ron Galella: new YoRk ($50, aRtbook.com) In the ’70s and ’80s, original stalkerazzo Ron Galella redefned what it means to be famous in America, one street-corner ambush at a time. His latest monograph is a glamorous and gritty love letter to his favorite hunting ground in a time before TMZ. Today’s besieged starlets would love the paps if they made them look this chic.
buddY esquiRe: kinG of the hip hop flYeR ($50, aRtbook.com) For a cultural movement to really get of the ground, it needs a signature aesthetic. In the case of early hip-hop, it came from Buddy “King of the Flyer” Esquire, a self-taught virtuoso whose Art-Deco and anime-infused street posters for Afrika Bambaataa, Kurtis Blow, Grandmaster Flash, and others lent a graphic face to the Bronx renaissance.
R. cRumb sketchbooks 1964–1982 ($1,000, taschen.com) Underground cartoonist Robert Crumb’s X-rated oeuvre has been catalogued before, but never by his own hand. This six-volume, 1,344-page set is the second installment in Taschen’s two-part series, and focuses on the frst half of his career at the counterculture fringes. Fans of caustic humor, alienation, and luxurious pubic hair rejoice. spiRit of 76: london punk eYewitness ($40, aRtbook.com) Americans might have invented punk, but it was the Brits who made it go boom. Music journalist John Ingham was in London when the bomb went of, conducting the frst-ever interview with the Sex Pistols, partying with the Damned, and even bailing Sid Vicious out of jail. Through photos and reporting, he takes us back to ground zero.
From top: Buddy Esquire, Spirit of 76, Ron Galella: New York, There Goes Gravity, R. Crumb Sketchbooks Volumes 1–6
Kim Fisher Dirty Kitchen, 2014
A R T I N MO T I O N
grab your passport and follow the international art scene, where marina abramovic, jeff koons, jana euler, and others are holding court
text kevin mcGaRRY “Bigger is better” might be the driving ethos of an art world that has been going through a prolonged period of expansion and ascension—and summer is blockbuster season! On June 11, Marina Abramović checks in to the Serpentine Gallery, in London’s Hyde Park, where she will remain in residence through August 25, creating a new performance as well as reenacting works from throughout her
Jef Koons Split-Rocker (Orange/Red), 1999
Aspen Art Museum
career. That same week, the second edition of the Hammer Museum’s “Made in L.A.” biennial of SoCal art will open (on view through September 7). A total of 35 artists are featured in the show, including Harry Dodge, Kim Fisher, Samara Golden, and Wu Tsang. Back in Europe, while there is no Venice Biennale in even years, Art Basel, in Basel, Switzerland, will commence like clockwork on June 19. Two hundred and thirty-two galleries from around the world will comprise the main section. Plenty of confusingly named sidebars promise highlights, like Beatriz Gonzalez and Johanna Calle at Bogotá gallery Casas Riegner, in the Feature section, and Estonian artist Katja Novitskova at Berlin’s Kraupa-Tuskany Zeidler, in the Statements section. Curator Gianni Jetzer returns to organize the more than 70 sculptures, videos, and performances that make up the Unlimited section (on view through June 22). A few weeks later, on June 29, on the isle of Manhattan, the Whitney Museum will open its fnal exhibition at its Marcel Breuer home on Madison Avenue. It might be the venerated institution’s most anticipated show, among fans and detractors alike: a nearly museumwide retrospective of American savant extraordinaire Jef Koons. While the Breuer building is no Versailles, the
Jana Euler Near Meeting, 2013
event is sure to be a marriage of art and architecture, one that will make both headlines and history, as well as inspire the most #artselfes in New York this summer (on view through October 19). High up and over yonder, in Colorado, the Aspen Art Museum’s Shigeru Ban–designed building, situated at the base of Aspen Mountain, will open its doors on August 9 with a slew of new exhibitions and a 24-hour celebration. Shows by Tomma Abts, Cai Guo-Qiang, Jim Hodges, and Rosemarie Trockel are anchored by a twoperson exhibition pairing the work of Yves Klein with that of David Hammons. In addition, various humanitarian structures designed by Ban will be on view, including his Paper Log House, built for the 1995 earthquake in Kobe, Japan, and Hualin Temporary Elementary School, constructed after the Sichuan earthquake of 2008. Finally, as a counterpoint to all the largesse, Kunsthalle Zürich will close the summer with the frst solo institutional show by painter Jana Euler, opening on August 29. Shown at the Whitney last year with sculptor Stewart Uoo, Euler’s canvases collide abstraction and fguration and fold the complexity of networked life into misleadingly simple frames, laden with symbols, faces, and forms that compete with one another for surface supremacy.
From left: Courtesy the artist; photo: Ruth Clark, courtesy the artist and The Modern Institute/Toby Webster Ltd, Glasgow; collection of B. Z. and Michael Schwartz, © Jeff Koons; courtesy of the Aspen Art Museum and Shigeru Ban Architects (SBA); photo: Mark Blower, courtesy the artist, Cabinet, London, and dépendance, Brussels
Marina Abramović Portrait with White Lamb, 2010
theRe Goes GRavitY ($28, us.penGuinGRoup.com) Before the Internet took over, writing about music was a fascinating way to make a living. For further evidence, see Vanity Fair’s Lisa Robinson’s excellent new memoir. The frst female writer to wangle her way into the boys’ club, she covered the Stones on their 1969 world tour, played matchmaker with Lou Reed and David Bowie, and watched punk take shape from her barstool at CBGB.
M UST- S E E M OV I ES
hit cinema’s celestial highs with the season’s big-budget blockbusters and smaller indie vehicles. twinkle twinkle
TeXT KYle buChAnAn
1 TAMMY (JulY 2) Melissa McCarthy cowrote this comedy (with husband, Ben Falcone, who directs) in which she goes road-tripping with her boozy grandmother, played by Susan Sarandon. After the femme-fronted Bridesmaids and The Heat, just consider this McCarthy’s answer to the Bechdel Test.
2 ObviOus Child (June 6) An abortion-themed romantic comedy may sound like a hard sell, but star Jenny Slate will make you a believer in this hilarious Sundance hit, in which she tries to keep her pending abortion under wraps while dating a great new guy.
3 X-Men: dAYs Of fuTure PAsT (MAY 23) In the most ambitious X-Men feature yet, a time-travel conceit allows Jennifer Lawrence and Michael Fassbender’s young team of X-Men to join up with the old-timers, played by Hugh Jackman, Patrick Stewart, and Ian McKellen.
4 22 JuMP sTreeT (June 13) All those megabudget blockbusters are swell, but the summer movie we know we’ll enjoy most is the sequel to 2012’s surprisingly hilarious Jonah Hill–Channing Tatum team-up. 8
5 GOdzillA (MAY 16) We rolled our eyes at this remake, too... until we saw that bananas-good frst trailer, with a genuine sense of monster menace and a stellar cast, led by Bryan Cranston, Elizabeth Olsen, and Aaron Taylor-Johnson.
6 JuPiTer AsCendinG (JulY 18) Mila Kunis goes from downon-her-luck janitor to galactic queen in this sci-f story from the Wachowskis, which intriguingly casts Channing Tatum as a wolf-human hybrid with an unusual albino do. Sure, why not?
7 GuArdiAns Of The GAlAXY (AuGusT 1) Marvel goes cosmic in this ofeat outer-space adventure, but we’re most excited about its potential to turn Parks and Recreation scenestealer Chris Pratt into a big-screen leading man. 8 The rOver (June 13) Take Animal Kingdom director David Michod, add stars Guy Pearce and Robert Pattinson, toss in a healthy helping of guns, grime, and crime, and you’ll get this promising Aussie thriller.
9 snOwPierCer (June 27) A menacing Tilda Swinton (in oddly chic old-age drag) facing of against Chris Evans on board a futuristic train split among the haves and have-nots? And it’s directed by Korean visionary Bong Joon-ho? We’re in. 10
10 MAlefiCenT (MAY 30) Angelina Jolie hasn’t been seen onscreen in four years, but what better comeback vehicle than this original story about Disney’s most fearsome villainess? Come for the CG spectacle, stay for Angie’s daunting cheekbones.
11 The fAulT in Our sTArs (June 6) Come get your cry on with this romantic weepie based on the acclaimed John Green book, in which Shailene Woodley fnds her cancer diagnosis leavened by the presence of hunky, sensitive Ansel Elgort.
12 beGin AGAin (JulY 4) Keira Knightley is winning as a fedgling singer-songwriter who fnds creative catharsis after she’s dumped by her cad boyfriend (played by a surprisingly natural Adam Levine), and then gets inspired by a forlorn music exec (Mark Rufalo).
13 dAwn Of The PlAneT Of The APes (JulY 11) The 2011 Apes reboot was better than anyone expected, so let’s hope the streak continues with its postapocalyptic sequel, which adds Keri Russell and Zero Dark Thirty standout Jason Clarke.
p a l o a l t o ACTOR, AUTHOR, And ARTisT JAMEs FRAnCO TURns THE MiKE (And His CAMERA) On THE sTELLAR YOUnG TALEnTs WHO ARE bRinGinG His ACCLAiMEd COLLECTiOn OF sHORT sTORiEs TO LiFE On THE siLVER sCREEn ARTWORK AND INTERVIEWS JAMES FRANCO 44 V MAGAZINE
In his debut book of short stories, published in 2011, James Franco captured the angst-filled and often nihilistic proclivities of bored teenagers working through their impassioned (and hormonal) tendencies. Inspired by his hometown of Palo Alto, California, the tales speak to all of those tension-flled moments that only high schoolers can truly appreciate—getting drunk, making out (with your soccer coach), driving dangerously, breaking hearts, committing vehicular manslaughter, and so forth. The material being too rich not to develop for flm, Franco tapped frst-time director Gia Coppola to give Palo Alto its cinematic sheen. Rave reviews would follow this past April at the Tribeca Film Festival. Now, Coppola and Franco (who plays the aforementioned creepy coach) are sure to have a summer hit on their hands, having fawlessly tapped into the cultural zeitgeist. Here, Franco checks in with his fedgling director and well versed castmates Emma Roberts, Jack Kilmer, and Nat Wolf.
GIA COPPOLA, DIRECTOR James Franco Hi Gia! How do you remember everything coming about? Gia Coppola You sent me the book Palo Alto and I read it and it just felt right. Something that I was interested in. It was a slow process of you kind of guiding me. Asking me to take the stories that I like and writing them in a script format, and then I started taking those stories and intertwining them into one thing. JF I remember sending you the book and saying, “I know it might be a little crazy because we don’t know each other that well.” I remember saying, “I feel like you’re the right person for this, I’ll give you the rights, and I’d love for you to do it.” GC You said, “Pick one of the stories and make a test with your friends.” And I did the three-part “April” story. And I learned a lot through that, in just hearing the words of the page. JF You wrote a draft and then I said, “Go shoot a test. Try not to spend any real money and just do it.” It’s something that I learned in flm school and I have my grad students do, where they don’t use the actors they’re gonna use in the movie, they don’t use the real locations, and they don’t spend time on lighting or anything, but it’s almost like a rehearsal for the director. It’s low pressure, so you can experiment and try things and try shots. Then you edit it together and see how it feels. I asked you to do that and I think yours came out at like 30 or 40 minutes. I thought it was really good. You said that you learned a lot, but you were embarrassed. But the point was that it was not
supposed to be polished or anything. I was really impressed by how natural your actors were, which is not an easy thing to capture. GC I think we shot it over a period of two weekends, and I borrowed my uncle’s 5D camera and just got my friends together. I kind of imagined this thing, and when I saw that it didn’t meet my expectations, it kind of freaked me out. I wasn’t sure I could do this. I’m glad that you liked it. I think maybe because they were my friends it came across as more natural. I’m not really sure how we did that, but I’m glad it worked out. JF Did anything change after the test? Did it give you insight? GC I think it helped with writing and going back to the script and hearing the dialogue. I had never worked with dialogue—ever. And understanding blocking a little bit. Spending time with my friends to see how I can help them and explain to them what the scene needs. And trying to understand for myself what the scene needs. JF Tell me about how you broke the book down. That process. GC I think I had a version where I cut every single page of the book and glued it onto 8-by-10 hole-punched paper, and I would highlight in diferent colors all of the moods and tones and dialogues. And then I had enough space on my paper to write my notes. Then I could see through to what it was that I was liking about your stories and how they were similar. I already had the separate stories laid out in script format, so that made things a little bit more clear. I fgured out that with movies you can’t have too many characters because it gets overwhelming. JF That was one thing that I think you did that was so impressive. I was so happy to work with you on it because you brought a bunch of stories together and wove them in a way that I wouldn’t have been able to do because I was too close to the material. GC I like how it’s episodic in the book. It made it feel like high school, where you have these separate stories but the same characters weave in and out of each other’s lives. JF Tell me about the actors that you found. I think it was all largely due to you. It seemed like you had known some of these young actors before you worked with them. GC I’ve known Jack since he was little. He went to my elementary school, and part of the program there is mentoring a younger class. I had to mentor his class, and I just remember him really little, maybe four. He was so wild and destroying everything. Now he’s just really mellow and introverted. I remember him from that and when my grandpa was making Twixt. Val was in the movie, and Jack would come visit and mope around. I think we went out to dinner one night and during the audition process I was
meeting all of these kids whose lives were dedicated to auditions. They just didn’t feel like real teenagers to me, and then at dinner with Jack he felt really normal. He surfs and paints. He was being so funny at the dinner table. He came in and read and he just has a natural ability to feel comfortable in front of the camera. Then Emma, I saw her in Celeste & Jesse Forever and thought she was really good. She really liked the script and your book and she was eager, so I thought she would be nice to have around. JF Nat has a great crazy energy in the movie. I just directed him in a couple of scenes in The Sound and the Fury. We only had a few scenes, so it was hard to fgure out what was going on, but it felt like when he thought about something too much he got stif,
but when he let loose he was really, really good. And there was this wild kind of energy that I see in Palo Alto. GC When we did rehearsals, we didn’t do any of the scenes, so that it wouldn’t feel stale when we flmed. We just did a workshop of them all playing around and getting to know each other, so the dialogue was still fresh when they did the scene. I felt like he was really helpful to me. He and Jack just had a natural relationship that worked so well with what the movie was about. I think having Jack around was good for him. JF I can see that. GC We didn’t do much. We did a table read and a week of playing games. I didn’t know
and they write a note to themselves—please help me, guide me —then the next morning you record what you dreamed about. Then we reenact the dream. Sometimes it worked. JF I can see it working, especially as a way of bringing actors closer together and bringing actors closer to the material in a way that’s not forceful or deliberate. GC Yeah, they can imagine those moments in their dreams rather than something that they have to make up.
what I was doing. I was getting advice from people here and there. I felt like as long as we got to know each other and got comfortable, it would make things easier. JF You did some improv things? What would you do? GC I asked around for some improv games and then we would just draw. I used some dream assignments that I heard about where everyone writes or records their dreams after they wake up and then they try to fnd some parallel to their characters. The next day, we reenact the dreams with all of the actors. And through that they can see the parallels. JF So they come in and describe a real dream that they had and then you act it out? GC Yeah, I think maybe if they read the script the night before and they sleep on it
EMMA ROBERTS, ACTOR James Franco I’d love to hear about what your actual high school experiences were like. When I ask about high school, what jumps out at you? Or did you even go to high school? Emma Roberts I was homeschooled, which was defnitely not like a regular high school experience. But I kept in touch with my childhood friends who were all obviously in high school. So I’d basically tag along to their proms and football games, and people would always be like, “Do you go here?” And I’d be like, “No, I’m homeschooled.” And they’d be like, “Why are you always at our football games? You don’t go to this school.” JF What school was that? ER Brentwood and Archer, in L.A. So I did get to do all the high school stuf, I did go to prom and all that stuf. JF Who did you go to prom with? ER I was that person who went with the boyfriend’s friend. I had a really bad spray tan, ’cause I used to get made fun of for being pale. I thought, I’m gonna get a spray tan and be really glamorous, but I looked like I rolled in mud. So, um, that was really fun. JF Right. And why were you homeschooled? ER Well, my last year of regular school was seventh grade. Basically I got a TV show on Nickelodeon when I was 12. It was a three-year thing, and the school that I went to counted attendance for half the grade. So even if I got A’s they wouldn’t give me a good attendance score. My mom was like, “We’re just going to homeschool you.” And I ended up working pretty much the whole time. I was on set, traveling, and going to lots of diferent places, I got to experience life, so that was cool. But sometimes I’d fantasize what it would be like if I went to high school and was a cheerleader or something. JF And so you were acting from a very young age? ER Yes. I went on my frst audition at nine, and I actually got the part. It was for the movie Blow, with Johnny Depp. And then from that, I was like, “Oh my God, I got the part, Mom, can I keep auditioning?” And she said okay. I didn’t get anything for a really long time, but I was like, “This is so fun!” My mom just thought I was the weirdest child, because what nine-year-old likes to go to auditions and memorize lines? JF Speaking of being wise beyond one’s age, tell me about working with Gia [Coppola]. I imagine she was one of the youngest directors you’ve ever had. How was it? ER I really loved working with her. I’d known her for a while, just in passing. I’d see her at events. But we just got along really well, and I remember I heard she was doing Palo Alto, and I read your book, like literally the day it came out. I did. Cover to cover. And I was like, “Oh my God, I love that book, I have to be in the movie!” I really wanted to work with her, so I was excited to get the part. It was fun. She’s so calm. A lot of directors are very scattered and very, like, you know, screaming things, or not really 100 percent there, because they have to think about a hundred things, but she’s just so present and calm, and she has a very unsuspecting sense of humor. She’s very serious and then she’ll saying something very inappropriate and you’re like, “What did you just say?” She’s fun to work with, and it made the shoot go by quick. I wouldn’t have been able to do the performance I did without her. She really made me feel comfortable. JF So obviously I had most of my scenes with you. ER Lucky you! JF I was lucky, and it was a weird experience for me for two reasons: it was a movie based on the book that I wrote, which was a piece of fiction, but it was loosely based on things that had happened to me or other people that I knew. No matter what role I played, it would’ve been weird just to act out things that were based on my life. But then it was even stranger because I was playing essentially the villain of the piece, and when I was writing about it, I identified with the young people. I identified with the teenagers, you know, I’m on their side. So that was a little weird for me, but I felt like Gia asked me to do it, and I was happy to do it, to help the movie. I also felt that the way to play it was to try to play him as non-creepy as possible, and that maybe that would be even creepier. I tried to play it like he is this nice guy and you can see why maybe people do like him. And try to cut down on any of the lecherous behavior and let the actions kind of reveal how creepy and wrong he is. What is your take on it? ’Cause it is creepy. How old were you when we did the movie? ER Twenty-one. JF Okay, so on another level, if it was just you and me, we could legally date. It was based on a guy who went to jail. What’s your take on your character? ER I mean, I can’t really fathom that in real life. I have a little sister, so that really disturbs me, but as far as in the movie, I felt like it was interesting and it was something that isn’t overdone. It shows what a confusing time my character, April, is having. And you kind of meet her in the middle; you see the beginning of the relationship and
the end, and you see how much she changes in that time. I think there’s something interesting in that, because as a teenager you go through things and they shape the rest of your life and some of them are weird. I thought it was cool that you weren’t afraid to show that. It happens. It felt honest. And I think Gia did a really good job of not going too far with any of it. JF She’s good. Well, there’s a lot I can say about Gia. I’m really happy about the way she presented it. The movie goes to some dark places, and the characters go through some dark things, but for your character, and Jack’s character, Teddy, it feels like there’s hope. ER I totally agree with you. That’s what I liked about it. Even when we were shooting it, there is a bit of sweetness, even when they’re going through those things. Gia cast the movie so well that no one was that unlikable, even when they should’ve been. I think that it’s really important in a movie like this to not make them so horrible that you don’t want to watch them. You’re curious about what happens to them down the line. You’re like, “I wonder if they end up together, I wonder where she is?” I think that’s really cool. JACK KILMER, ACTOR James Franco Jack. What’s up, man? Jack Kilmer Hi, how you doing? JF Good, I’m in Morocco shooting with Werner Herzog. But anyway, tell me a little about your story. How much acting had you done before this movie? JK Pretty much none. Other than, like, lying to my mom about…pretty much none. JF You’ve been around movies growing up. What was your experience before this? Like, had you been to a movie set or anything? JK Oh, yeah. I mean, my parents met on the set of a sci-f movie, Willow. And they’ve been working all throughout my childhood. It was really normal to visit them on set. From a really young age I’d sit in the trailer. I would see when they were learning lines; that was a part of their day. I grew up where most of the conversation at dinner was about actors and actresses. My parents were really into people and characters, you know what I mean? I grew up around them talking about the characters they’re playing and how they’re going to do it. JF And so tell me what you think about this character. Is there anything you can say about the experience of playing him or anything in that world? JK He’s not too social, but he’s kind of popular at the same time. Does that make sense?
I think he is somebody who likes to drink a lot. He’s in his head all the time. JF Did you go to a public or private high school? JK I went to both. I went to New Roads in Santa Monica and I did a year online, like free school on a computer. I went to high school from ninth to eleventh grades. JF What was your experience like? JK I had a close group of people that I would hang out with all the time. I don’t know, it was kinda fun. I’m a lot happier now that I’m not in high school. I guess the actual academic side of high school was really tough. And I took a really extreme standpoint— I would fail some classes and in other classes I would be getting all A’s. It was weird. JF At least writing the book I found this really interesting thing; tell me if this is what you’re saying. When I was in high school, I had friends and I had some good experiences, but I was also very confused. And I was kinda lonely a lot. There were some really sad things in all of that, and so at the time I think I probably wasn’t that happy, but going back and writing about it, even though I was writing about some hard experiences, it was actually really enjoyable. Did you fnd anything like that when you were acting in a movie about high school, as opposed to being in high school? JK That’s a great way to put it, exactly. It actually really helped me reconcile a lot of the really annoying things about high school and understand them and laugh at them and then move on. JF Right, yeah. I mean, I guess one of the great things about art is that you can take experiences and material from life and wrestle with them or rework them and come to terms with them. NAT WOLFF, ACTOR James Franco Hi Nat. How old were you when you started acting? Nat Wolf I was young. I was frst in a band and I was on this TV show that was kind of like a mock-documentary about our band, and then I just got into it through that. I was about nine or ten. And then I started doing plays in New York. JF What was the name of the band? NW It was called the Naked Brothers Band, which is also what it was called on Nickelodeon. JF It feels like everyone in the movie had unusual high school experiences, because most of you were working from a young age. You were working on these jobs as kids,
but with adults, and that’s an interesting kind of phenomenon. You have adult responsibilities and a job that adults also have. NW I’ve never really thought about it like that. You know, the better young actors are the ones that seem young, but at the same time you’re expected to be professional like an adult. I feel, strangely, like I had a very normal childhood. I didn’t grow up in L.A. and before I had even auditioned I was just on set with these kids in my band and none of us were really actors. We were all 11 and the whole idea of the show was to just catch lightning in a bottle. We learned to act unaware of the camera. It wasn’t until recently that I developed any kind of professionalism or technique. Now I know that there are times that you have to play to a certain side. At the time it was a lot of improv and hanging out with people. I think I took that to Palo Alto, because that was the most similar experience. We all became friends and all lived in [Gia’s mother] Jacqui [Getty]’s house. It just felt like an acting camp as much as the scariness of making a movie. JF Did you know anyone before making the movie? NW When I was younger I knew Emma. I had a crush on her. We weren’t super close or anything, but I remember thinking she was really cool. And I was shorter than her, so we have a good picture of us and now I’m a foot-and-a-half taller. I have to say that so it gets in the article, so that everyone knows I’m not still shorter than her. JF So she was the only one you knew before that. And what happened? You met Gia. What was that like? NW I read the script and I auditioned for the part of Teddy and didn’t hear anything. Then I hung out with Gia and I said that the relationship between Teddy and Fred really reminded me of the relationship in Mean Streets between Harvey Keitel and Robert De Niro. That’s exactly what she had thought of. She said she was thinking about that when she was writing the script. She said, “I really want you for the part of Fred.” I said, “I feel like as a person I’m more of a Teddy.” And I said, “I’ve never done anything like this.” And that’s why she wanted me for it. She really just took a leap of faith. Once we started rehearsing Gia said, “Jack’s never acted before and I think it’s really important that you guys become really close.” And it just happened that, without trying, we became really good friends. I don’t know when we all started staying at Jacqui Getty’s. It started of as just a couple of nights after late rehearsals. His parents were away and my parents weren’t in L.A. so we just ended up using Jacqui as our surrogate mom. She would make dinner for us every night and breakfast. We had this kind of ridiculous
bachelor pad in her garage. We’d watch A Clockwork Orange and Apocalypse Now and all these movies that Gia’s family has in there. JF Was there something about you guys roaming the streets in the middle of the night? NW Yeah, we got in trouble with Jacqui because we went out on Halloween and I guess Jack started posting Instagram photos of us and we got all of these frantic calls because we were supposed to be on set the next day. I left. Apparently Jack ended up… it sounded like a lie, but I think it actually was a stomach fu. JF I like what you said about Mean Streets because it’s as if Harvey Keitel’s character feels responsible for De Niro’s character, almost as if it’s another side of himself. He cares as much about Johnny Boy as he does about himself, and so the kind of conversations they have are like conversations between two sides of the same person. It’s not totally black-and-white like that, because the way you guys played it was Teddy has his dark side and Fred has his sensitive side as well, which you really fleshed out. I like that the kind of conversations you guys have are really like two people who are close but ultimately choose different paths. It really does feel like yin and yang—both connected and opposite. NW Every time Teddy starts to push away he latches on. He tries to pull him back into the darkness. I like that there’s both, that you can see him be a dick to Emily in that scene with the blow job and then you see there’s some kind of sweetness when he’s teaching her to play guitar. It’s not really black-and-white. But it’s the same thing. I was thinking that you played the opposite too, with the gym teacher role. There was real sweetness and then I loved you telling that joke about pulling the horse’s penis. That you don’t have to be hung like a horse. There’s a sweetness to that guy and a kidlike charm. I’m so excited about the flm. JF When it was going around the festivals, people would compare it to Kids, which is a movie that I really love. But Kids is very bleak. There’s very little hope, and I feel like in Palo Alto at the end there’s hope. Maybe not for your character, but what your character does get is a little bit of a soul. You realize that he’s not just the devil or a bad kid. He’s hurting as much as everyone else. NW Maybe even more. JF Exactly.
palo alto is in theaters may 9
Shailene Woodley’s starring role in this spring’s Divergent might have catapulted her from buzzworthy-criticaldarling status to full-fedged movie stardom, but the 22-year-old actress is still an indie cinephile at heart. “I fnd Sundance to be nothing but pure magic every year,” she says. “I’ve been going for a while, whether I’m with a flm or not. The weather, the people, the dance moves, the flms, the cozy attire…it’s swoon-worthy.” And she should know. In a few short years, Woodley has won the hearts of critics and audiences alike as one of Hollywood’s most magnetic young talents by giving tearful reality checks to George Clooney in the art house (The Descendants) and throwing knives and jumping of buildings on IMAX screens (Divergent). “I love indie flms, because there’s no slacking of,” she says. “The budget is so tight and the shooting schedule is so precise, there’s no room for error. Everyone is there for the love of the craft. [Indie flms] are able to explore beyond the boundaries of what studios will allow. They take risks and diverge from mediocrity—by being sexual, mysterious, dangerous, or crude. I love them because the freedom is unbridled.” Perhaps no director embodies these characteristics better than Gregg Araki, whose latest flm, White Bird in a Blizzard, brought Shailene back to Park City this year. “I’ve been a major fan of Gregg’s work for a while now,” Shailene says. “My frst impression of him was, Wow. This man does it all himself. He moves to his own rhythm… dances to his own unique tune. He owns himself. That isn’t necessarily the norm during this age of megaflms and studio franchises. He doesn’t make very many flms, so when the opportunity arose, I jumped on it. I feel like being a part of the Araki clan is a rite of passage.” In the central role of Kat Connor, a late-’80s alternateen on a quest to fnd her vanished mother, Shailene relished the chance to amp up the sex factor. “I connected with Kat because of her confdence and her way of coping with pain by masking it through her sexuality. I loved her strength and power to own her skin and to explore herself through her relationships with men.” Next, the ingenue will tug at audience’s heartstrings in the much-anticipated The Fault in Our Stars. “It’s a beautiful cancer movie that isn’t about cancer,” she says. It’s about internal exploration, eternal connection, and universal, unconditional love.” Following that, she’s content to keep waiting for another fabulous script. “I’m going to lie low and explore some of life’s other artistic facets.” PatrIK SaNdBErg top t By alExaNdEr WaNg s/s 2014 Jeans CItIZENS oF hUMaNIty shoes alaïa
the sundance kids IN JANUARY, V TRAVELED TO PARK CITY, UTAH, TO SEE WHAT THE SUNDANCE FILM FESTIVAL FORETOLD FOR 2014. IF THESE 10 TALENTS ARE ANY INDICATION, THE FUTURE OF CINEMA IS SHINING BRIGHT PhotograPhy MarK aBrahaMS FaShIoN KEEgaN SINgh 50 V MaGaZIne
“It’s kind of rare for me to love something so much.” Young Aussie actress Emily Browning is marveling at her response to seeing her new flm, God Help the Girl, which premiered at Sundance to substantial buzz. The frst directorial project from Belle and Sebastian front man Stuart Murdoch, Girl tells the story of a young woman named Eve who breaks out of a mental institution in Glasgow and forms a band with a group of local friends. The flm unspools as a surprisingly cool musical, using songs from the 2009 Belle and Sebastian project and album of the same name. “I’ve always been a really huge fan of Belle and Sebastian,” she says. “I heard Stuart was making a flm with their music, and I was just like, Get me in there! I need to get this part! I have to do it! There wasn’t even a script available, but I didn’t really care.” Once she landed the lead role, Browning found herself in Scotland performing live rehearsals with the entire band, for real. “You know, when you’re in a professional environment, you have to put your fan-girlness aside,” she laughs. “I sort of thought he’d be a perfectionist about the music, so I asked if I could take singing lessons, and he said, ‘No, I like it when it doesn’t sound perfect.’” Emily was soon running around town with Murdoch and her castmates, Hannah Murray and Olly Alexander, shooting on the fy—a much diferent experience from the one she had flming the epic blockbuster Pompeii. “God Help the Girl didn’t feel like work, really,” she recalls. “We’d be running around and never get a break, but I prefer that style of flmmaking. Making a big flm is a lot cushier…there’s lots of food and you get a fancy trailer, but I really like making these little independent flms, because it’s sort of like a community. There’s more opportunity for collaboration, and it feels like everyone, the cast and crew, is as important as the next person. Being on the set of a big flm, people kind of treat you like, ‘Oh, you’re very important because you’re an actor.’ But I’m like, No, not really.” The feeling of pride Browning experienced in Park City might become a repeat experience. Next she’ll adopt a Southern accent for upcoming indie Shangri-La Suite. “It’s about two people who fall in love in 1974. Luke Grimes is playing Jack, who is my boyfriend in the film, and he is slightly unhinged and wants to assassinate Elvis Presley,” she says. “It’s a road trip sort of thing, but dark…we go on a killing spree trying to find Elvis. It’s very dreamy, lovers with guns. Very Americana-feeling. I love that shit.” patrik Sandberg clothing proenza SchouLer s/s 2014
“I soak up and learn as much as I can, because they are icons,” says Boyd Holbrook of his many collaborators, which include pop-culture heavyweights like the photographers David Armstrong, Bruce Weber, and Inez & Vinoodh and the flmmakers Gus Van Sant and, recently, David Fincher and Terrence Malick. “They have their own language and they speak it.” The 32-year-old actor—who is also a musician, sculptor, and model—made his way in New York with his farm-boy good looks and “nevermind” demeanor for brands such as Levi’s, Viktor & Rolf, and Hugo Boss. He chalks up his success to clear communication, “no matter what the medium,” he says. And with two well-reviewed roles at Sundance—as a strapping young Aussie in the Craig Johnson–directed flm Skeleton Twins and another in newcomer Sara Colangelo’s Little Accidents, in which he plays a lone survivor in a coal-mining town—we hear you, Boyd. “Little Accidents is a great piece with a great voice about a region of our culture that doesn’t have the chance to be heard,” says Holbrook, who grew up in blue-collar Kentucky coal-mining country. “I wanted to do it out of respect and admiration and curiosity about the industry that essentially put food on my table.” He can appreciate a daunting job, having once worked the graveyard shift unloading aircrafts, in order to pay his college tuition. With three more projects wrapped and slated for early fall—Gavin O’Connor’s Jane Got a Gun, which stars Natalie Portman, A Walk Among the Tombstones, with Liam Neeson, and David Fincher’s Gone Girl, with Ben Afeck—the multitasking, multitalented Holbrook is now set on directing. Who else but a good ol’ country boy could truly appreciate the serene simplicity of Sam Shepard’s short story about a man and his dog? kate branch Jacket Saint Laurent by hedi SLimane s/s 2014 shirt dkny s/s 2014 pants giorgio armani s/s 2014
In Jake Paltrow’s Young Ones, Elle Fanning plays a girl in a dystopian future, where Fanning lived through her own out-of-body moment with her next film on the water is scarce and her family must fght to survive. “It’s set in Colorado,” says Fanning, release schedule, Disney’s big-budget spectacle Maleficent. “I just kind of look at “but we flmed it six hours outside of Cape Town. It was 112 degrees almost every day, Maleficent as a gigantic thing,” she says with a laugh. “I’ve never done a movie with and the town we were shooting in ran out of water! The whole town! It’s something that so much green screen and scanning. For every outfit or hair change I had to go into a happens there every two years, but it was not planned at all. It worked for us.” The flm, room, stand on a pedestal, and they would spin me around so they could add things costarring Nicholas Hoult, Aimee Mullins, and Michael Shannon, is one of Fanning’s visually later. It was like, Wow! This is different.” Though Princess Aurora isn’t based pet projects. “I met Jake when I was 12, and he became really close to me. We couldn’t on a real person, the desire to do justice to a Disney classic took its own kind of toll. believe it was fnally at Sundance, you know? We were so excited, like, We did it!” “I look at her as a real person, you know? In the animated film she has her specific Young Ones, along with Jef Preiss’s Low Down, marked Fanning’s return to the fes- gestures and she speaks in a certain way. I wanted to embody her in the way that all tival, which she last attended when she was nine years old. “It was the frst festival I Sleeping Beauty lovers see her.” ever went to,” she says, “so it’s sort of a special one. I love that it’s not super glamorous. When asked about working with Angelina Jolie, Fanning fnds herself at a loss for Everyone’s in boots and big jackets and everything. To be there with two flms makes words. “It was huge!” she exclaims, short of breath. “I mean, she looks unbelievably it feel like a really exciting year.” gorgeous and elegant…and she’s playing evil! She has horns. Whenever she walks into Low Down arrived atop a wave of buzz, generated by its real-life source material, a room, you just stare at her. And she was walking around on set in the whole costume Fanning’s dramatic performance, and an incredible cast, including Glenn Close, Peter with both her twins, one on each hip. It made her seem even more otherworldly. But Dinklage, and John Hawkes. “It’s based on a memoir by Amy Albany, and I play Amy. Her she was incredible, we had the best time. I really love her.” father was Joe Albany, a jazz pianist in the ’70s who was also a heroin addict. She wrote Perhaps some of Jolie’s wickedness has rubbed of. “Just because I have blonde hair about growing up with this genius dad who was kind of touched by God with his piano skills, and pale skin, I think people look at me and they see the princess. Maybe next I’d like but was also really struggling with addiction.” It’s Fanning’s frst time playing a charac- a darker role. I try to do as many diferent flms as I can, because it’s more exciting and ter based on a real person, so she felt pressured to get the details exactly right. “Amy was more fun that way. I’m ready to get a little grungier.” patrik sandberg on set every day. I felt like she was really open and I could always ask her anything. We created a really good friendship. I think it was kind of an out-of-body experience for her.” Jacket Louis Vuitton s/s 2014 Jeans raLph Lauren Belt the Leather man
“When I read the script it was everything I wanted it to be,” says Hannah Murray, star of God Help the Girl, the indie rock musical written and directed by first-time filmmaker Stuart Murdoch, the lead singer-songwriter of Belle and Sebastian. Murray, whose breakthrough role was Cassie Ainsworth on the UK teen drama Skins, plays another Cassie in God Help the Girl, a rich, tandem bicycle-riding teenager who joins with her friends, played by Emily Browning and Olly Alexander, to attempt a band one summer in Glasgow. “I think anyone who has a love for music probably goes through a phase of, ‘I want to do that.’ But I realized long ago that was never going to be possible for me,” she says. and laughs. “And that’s something that is amazing about acting. There are those few seconds when you forget and think that you’re in a band— and you kind of are, in that fantasy moment.” The Bristolborn actor recalls first listening to Belle and Sebastian as was a teenager. “The song ‘Expectations’ was a huge thing for me because it so encapsulated the experience of being a teenage girl and feeling like an outsider,” she recalls. “Like you’re weird and different and not going to fit in. It meant a lot to me to feel like I wasn’t alone, that other people were going through the same thing.” It was particularly gratifying to watch Murdoch realize his shipin-a-bottle storytelling with new breadth. “It was amazing to watch someone take so much joy in their work,” Murray says. “I think because he was a first time director, but also because he was coming at it from a place of having been a musician and probably never expecting to be a director. He was amazingly grateful and appreciative and enjoying the experience as much as possible.” MARK JACOBS COAT AND HAT GUCCI P/F 2014
Morgan Saylor is accustomed to intensity. She’s left a searing impression in the minds of TV viewers for the past three years, as teen spitfire Dana Brody on Showtime’s smash Homeland. The daughter of a suspected-sorta-almost-not-quite-but-maybe terrorist (it’s complicated), Dana has come to symbolize #whitegirlproblems on steroids: negotiating the disarmament of a would-be suicide bomb, covering up a hit-and-run murder, attempting suicide, escaping from rehab, stealing her mother’s car, and betraying her boyfriend to the police, to name but a few of her angst-ridden exploits. “It’s funny to me,” Saylor, 20, says of the ratings phenomenon. “It’s kind of surreal. When we shot the pilot I never would have guessed it would become such a cool role. Some people love her and some people hate her, but it’s cool that people respond either way.” When it came to shooting Carter Smith’s Sundance entry Jamie Marks Is Dead, Saylor relished being able to get her hands dirty with a smaller production crew. “[Homeland] is a well-oiled machine and we know how to get it done,” she explains. “We had a small budget and we were staying in a Days Inn. You have more of an opinion, even with the director. Everything is smaller, so you have to fill in the gaps and keep up more than you normally would.” When it came to playing the role of Gracie Highsmith, Saylor found she was able to flex her brooding chops in a more nuanced way. “The movie starts with my character finding Jamie Marks’s body and it kind of unravels from there. It’s the story of a boy’s death and how a small town responds to it, especially two kids, played by myself and my friend Cameron Monaghan. It’s a different script from what I’d been seeing, and a different kind of movie about teenagers.” In the film, Marks’s ghost comes back to haunt the two teens, but it’s not the typical haunted adventure one might expect. “It’s not Casper,” she says, laughing. “It’s a person. It’s weird and disturbing, but also tender, and maybe, inspiring? A lot of the movie is about loneliness and finding a friendship, or even just a connection, which a lot of teenagers and adults can relate to. Everybody gets lonely.” Next up, Saylor hops to buck any potential typecasting by going blonder, younger, and dressing up in the color pink for a Disney flick with Kevin Costner. Homeland fans can also rejoice (or pour haterade) over Dana’s return in Season 4. “I’m not coming back as a regular,” she admits, “but I think there may be a meeting with Carrie coming up. I might have to meet my baby sister.” PATRIK SANDBERG COAT ALEXANDER WANG S/S 2014
It’s no small secret that most actors bemoan the publicity process that trudges hand-inhand with the release of a film—and with good reason. Actors find themselves shuttled from photo shoot to photo shoot, trussed up in clothes they would never otherwise wear, or put into a single small room and confronted by dozens of reporters who rotate in and out and ask the same inane questions. Twenty-five-year-old French actor Pierre Boulanger, however, is not one of those actors. “It’s really important to live the adventures of the films you play in,” Boulanger says from the comfort of his flat in Paris. “Still, maybe one or two years after is when the movie is seen by the audience and that’s important because, as an actor, you’re not making movies for yourself.” His dedication and enthusiasm are remarkable traits, perhaps missing in Anton, the character Boulanger plays in Stuart Murdoch’s Glaswegian coming-of-age musical, God Help the Girl. “[Anton’s] a young guy in the Glasgow scene who’s starting to be a little more famous,” he explains of the role. “He meets this young girl, Eve, and really appreciates her, I think. She wants to be a singer too and instead of helping her and encouraging her to work on her music, he foolishly decides not to tell her that he doesn’t like what she does.” This deception leads to a confrontational breakup and perfectly draws a classic love triangle in the film, but Boulanger believes the character represents more than a simple plot device. “Maybe he is Stuart Murdoch’s critical point of view on his own songs coming out. My character is telling the truth to Emily Browning’s character. He thinks she needs to write bigger lyrics, to stop making baby doll songs.” Though enraptured with what he calls the “flavor” of the film, Boulanger admits he was never a Belle and Sebastian fan, and knew little of Murdoch when he auditioned for the role. Now he regards him as “the coolest guy I’ve ever worked with. He has this pure, simple mind and spirit. He’s doing things because he wants to do them. This film is special because it belongs to him 100 percent. I really think he did this movie without any pretention.” Boulanger may be familiar to audiences who watched him get his start in the 2004 film Monsieur Ibrahim, the first project to bring him stateside for festivals as well. After taking a few years off, the budding star is proud to make his reemergence in a film that he says is one of a kind. “It’s very specific, actually. It’s a musical but it’s very much like a dream. It’s not realistic, like Billy Elliott, it’s something more. It’s something you put into your arm and it follows you around all day.” PATRIK SANDBERG CLOTHING BALMAIN S/S 2014
“This is a guy who is given the choice to say or do the right or wrong things, and chooses to say and do the wrong thing every time,” says Jason Schwartzman of his character, a rising novelist, in Alex Ross Perry’s black comedy Listen Up Philip, which debuted in Park City to stunning reviews. Also starring Elisabeth Moss and Jonathan Pryce, the flm follows the talented author, who mishandles every relationship and career choice while on the brink of success. One of Schwartzman’s frst lines? “I hope this will be good for us, but especially for me.” (“Oftentimes I would say to Alex, ‘I can’t say that to somebody, that’s so not nice...’” says Schwartzman. “And he’d be like, ‘Yeah, he’s not nice right now!’”) Perry and Schwartzman bonded when, after their frst meeting in New York City, dinner turned into drinks and then a trip to the now defunct vegan ice-cream spot Lula’s Sweet Apothecary, in the East Village. He sums up their frst “date” as cinema vérité: “You know, like, in movies, when people go out, and they have one long conversation as they are walking along a bridge, talking, and then a character is like, ‘I don’t like tomatoes,’ and then it cuts to someone on a stairway saying, ‘What do you mean you don’t like tomatoes?’” Considering all of his early success at playing precocious misfts for the likes of Wes Anderson, Sofa Coppola, and David O. Russell, the actor is clearly an intrinsically polite and curious fellow. He relays a story about carrying around an Arthur Russell documentary for a month in case he ran into Humberto Leon of Opening Ceremony. Leon borrowed it and then cast Schwartzman in a fashion short for his brand, shot by the doc’s director, Matt Wolf. The two met, got on, and Schwartzman then became the executive producer of Wolf’s documentary Teenage, which was based on Jon Savage’s book and came out in April. It seems that when it comes to picking projects, scenes from the life of Jason Schwartzman tend to write themselves. kate branch Jacket band of outsiders s/s 2014 shirt ralph lauren Jewelry schwartzman’s own
Throughout his storied career, actor and musician Michael Pitt has continually been cast as a delinquent baby-faced antihero—let’s face it, the man knows how to brood with the best of them—but his Sundance turn as a noetic Ph.D. student, in Mike Cahill’s I Origins, offers a fresh take. “Mike apparently saw something in me as an actor that I’m not often asked to reveal,” says the New Jersey native and high school dropout, whose résumé includes cult films like Larry Clark’s drug-addled Bully (2001), Bernardo Bertolucci’s sexually electrified The Dreamers (2003), Gus Van Sant’s Last Days (2005), Michael Haneke’s psycho-thriller Funny Games (2007), and HBO’s Prohibition mobster series, Boardwalk Empire (2010–11). Most recently he starred in a Bonnie and Clyde–esque thriller, Rob The Mob, with Nina Arianda. In I Origins, Pitt’s character, Dr. Ian Gray, is mesmerized by the mysterious truths behind spirituality, but hammered by the hard facts of science, and so he studies their connection through the lens of the human eye. “I think people separate science from art, and that’s very closed-minded,” says Pitt, who also plays music and makes art from his home base in Brooklyn. “Great scientists are some of our most creative people.” Pitt says that he draws inspiration from all types of sources. (These days, he’s penning a new song based on F. W. Murnau’s 1926 film Faust.) “The story of the film helped me find the way to finish the lyrics I’ve been writing for a song,” he says. From German scholars to reuniting with Clark for his upcoming Paris-based film, The Smell of Us, Pitt has a wealth of artistic integrity at the ready. kate branch clothing rag & bone s/s 2014 necklace Pitt’s own
“For a long time, I felt like I had to act the way an Oscar-nominee was supposed to act,” says the 28-year-old Anna Kendrick of her demeanor when Jason Reitman’s star-studded drama Up in the Air hit in 2009. “In my mind that was somebody who is reserved and diplomatic. It took me a while to realize that it’s okay to have opinions on things.” Now, the public can’t get enough of her. Fresh of flms opposite some of the funniest women in comedy today—Aubrey Plaza, in Jef Baena’s zombie fick Life After Beth, and Lena Dunham and Melanie Lynskey, in Joe Swanberg’s low-f indie Happy Christmas—as well as a viral faux–Super Bowl ad, in which the Drinking Buddies actress gets pissed of that she was cut from a commercial for a beer she doesn’t drink, Kendrick is riding high on hijinks. And things are only getting brighter for the Portland, Maine-bred actress, who cut her teeth on Broadway, at age 12, in High Society. This Christmas, Kendrick will be seen opposite Meryl Streep in Rob Marshall’s on-screen musical Into the Woods. Though audiences frst got a taste of Streep’s musical chops in Mamma Mia!, Kendrick couldn’t help but marvel at the polymath’s skills. “I just couldn’t get my mind around how she could have been sitting on this level of talent for so long and no one really knew about it,” she says, fanning out over the esteemed actress. “At a certain point, I had to tone it down.” Perhaps a testament to her own ascending career, Kendrick has sucessfully developed her own voice. “It took a while to come out of my shell. I am really happy that the more honest I am, the more people respond to that.” kate branch
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It’s always warm in Park City when you’re Brit Marling. We hesitate to call the multihyphenate an “indie darling,” but she certainly has an impeccable Sundance track record, one that includes cowriting, coproducing, and starring in festival favorites such as Sound of My Voice (2011), Another Earth (2011), and The East (2013). This year is no diferent. In the haunting science-versus-faith drama I Origins, Marling plays Karen, a lab assistant to a Ph.D. candidate (Michael Pitt) fxated on disproving intelligent design by studying the human eye. The flm, promptly picked up by Fox Searchlight, is another example of the Chicago native’s propensity for loftier, mathematical, sometimes countercultural ideas. “Science fction is a way of talking about the same old dramas, but putting them under a diferent pressure, showing them in a new context,” she says. “There’s always something in a sci-f premise, even though it’s far-fung, that you fnd mirrored in your own life.” Such intellectualism is soundly based in academia. Marling was valedictorian of her graduating class at Georgetown University, where she studied economics and studio art. then she attempted an internship “plugging numbers into fnancial models,” at Goldman Sachs, before lighting out for Hollywood. “It was a long time before I had a moment of either recklessness or courage, where I was like, I’m going to try and even if I fail and make a mockery of my life, at least I’m trying something that feels beautiful on the inside,” she says. Marling moved to Los Angeles with flmmakers Mike Cahill (writer and director of I Origins) and Zal Batmanglij, who comprise her formidable and prolifc nest of regular collaborators. “It’s an amazing thing to fnd two people that you hope you can tell stories with for the rest of your life,” she says. Mark Jacobs Dress Proenza schouler s/s 2014
“I’m trapped in L.A.!” screams Gabourey Sidibe, calling from the 405 Freeway. “I was only supposed to be here for a couple of days, but I’m nominated for an NAACP Award, and it’s here this month, so I guess I’ll stay. And I think I’m gonna go to the Oscars, so I thought I may as well.” It’s hard out here for an Academy Award–nominated in-demand character actress like Ms. Sidibe. It’s a miracle she found the time to shoot White Bird in a Blizzard, the new Gregg Araki flm that debuted at this year’s Sundance, but luckily it happened before she started work as the beloved character Queenie, on FX’s American Horror Story: Coven. “[My team] kept it a secret from me for a very long time,” she says of the TV gig. “I’m not great with that kind of exciting information. I’m like a teakettle holding it in and steam is coming out of my ears. So a week before my birthday they told me, and it was the best present.” Sidibe has earned an obsessive following with her performance as the cutting and confrontational young witch, whose power is that she can transfer her own pain onto others. “I think Queenie sort of speaks for the audience,” she says. “Everyone likes Emma [Roberts]’s character, because they like how awful she is, but it’s nice to be the one in the room saying, Girl, you’re awful.” For her role in White Bird, alongside Shailene Woodley, Gabby got to be a little friendlier, albeit unapproachably goth. “Our characters are alternative,” she explains. “They’re smarter and a little more clever than everyone else in the town. There’s one scene where I’m wearing a tutu and these boots, stockings, and like ten or more necklaces, and maybe fve or six bracelets, and then a choker. I remember thinking, it must have been really interesting being a teenager in the ’80s. You turn your nose up at everyone who’s trying too hard…but you’re wearing ffteen necklaces!” At the screening, Sidibe was thrilled when the flm won audience raves. “It was nice to see how happy the flm’s reaction made Gregg Araki,” she says. “He’s like a little kid. His movies are always so good, because he has such an interesting eye and ear. He pays really close attention to the whole teen angst thing, but not in the same way as, like, Ferris Bueller’s Day Of. It’s a skewed version of it, and it’s a version I feel connected to. The music and the color, I’m like, I don’t know who hurt you, but I’m glad you’re working it out through flm.” Patrik sandberg
Necklace eddie borgo s/s 2014 Top siDibe’s owN
Makeup, hair, and grooming (Anna, Astrid, Brit, Elle, Emily, Boyd, Jason, Michael, Pierre) Desirae Sherman using Giorgio Armani Cosmetics (Tracey Mattingly) Makeup and hair (Gabourey, Morgan, Shailene) Courtney Perkins using Chanel (Tracey Mattingly) Makeup (Rinko) Donald Shimrock using Temptu (Tracey Mattingly)
Hair (Brit, Elle, Emily, Pierre) Paul Norton using Oribe (Tracey Mattingly) Hair (Rinko) Sheenon using Oribe (Tracey Mattingly) Photo assistants Check Wu and John Beecroft Stylist assistants Verena Hafner, Whitney Meyer, Christopher Lee Retouching Gloss
Two days before leaving for a month-and-a-half-long road trip, Astrid Bergès-Frisbey read the script for I Origins, with low expectations and little interest in working on an American flm. “I was like, Read this script before you leave. You won’t like it anyway, and you can leave Paris with your mind clean,” says the Barcelona-born actor, whose only stateside credit had been the mermaid Syrena in 2011’s Pirates of the Caribbean: On Stranger Tides, for which she was handpicked by director Rob Marshall. By the third page of the high-concept science-fction mystery, her interest was piqued. The moment she fnished, she called her agent to set up a Skype meeting for the next day with writer-director Mike Cahill, a Sundance star in 2011 for his visionary debut Another Earth. “I was really, really moved,” Bergès-Frisbey says. “I thought it was brilliant, and I thought it was emotionally strong. It could make people leave the screening with questions for themselves. I like that kind of movie.” She plays Sof, an enigmatic spiritualist who enraptures a skeptical molecular biologist pursuing a Ph.D. in eye evolution, played by Michael Pitt; together they drive one half of a twisting drama that thrillingly questions Intelligent Design, emotional interconnectedness, and the soul itself. For Bergès-Frisbey, whose concise CV includes French flms with Isabelle Huppert and Daniel Auteuil, I Origins heralded a breakthrough—and not just in terms of her performance. Its Sundance screening was so well-received that the actor, who usually fnds seeing her own movies impossible and so makes a quick exit, was inspired to sit tight. “It was a very beautiful moment for me,” she recalls. “They made me enjoy it almost as much as if I was watching it for the frst time.” mark jacobs Top Gucci p/f 2014 SkirT altuzarra S/S 2014 To See more from Sundance, go To VmagaZine.com
WORK IN PROGRESS PhotograPhy Jason schmidt
This page, top row, from left: Richard Phillips, V7; Gregory Crewdson, V7; Stephen Hendee, V8; Wade Guyton, V9; James Casebere, V9 Second row: Marina Rosenfeld, V10; Ugo Rondinone, V10; Rob Pruitt, V10; Ernesto Neto, V12; Maurizio Cattelan, V13 Third row: Pierre Huyghe, V13; Gelitin, V13; Masato Nakamura, V13; Leandro Erlich, V13; Luc Tuymans, V13 Fourth row: Richard Serra, V13; Barry McGee, Stephen Powers, 58 V MAGAZINE
Todd James, V13; Gregor Schneider, V13; Vanessa Beecroft, V13; Andrea Zittel, V14 Fifth row: Liz Larner, V14; Alix Lambert, V15; Tom Sachs, V15; Kiki Smith, V16; Christian Marclay, V16 Sixth row: Kimsooja, V16; Jeremy Blake, V16; Miranda July, V16; Dike Blair, V17; Roe Ethridge, V17 Seventh row: Andrea Bowers, V18; Martin Kersels, V18; Nari Ward, V19; Raymond Pettibon, V19; John Bock, V19
AFTER 14 INCREDIBLE YEARS, SCoRES oF FAR-FLuNg STuDIo VISITS, AND oVER 300 ARTISTS CAPTuRED IN THEIR NATIVE HABITATS, WE BID ADIEu To PHoTogRAPHER JASoN SCHMIDT’S FABuLouS “WoRK IN PRogRESS” SERIES. FRoM PAINTERS To SCuLPToRS, SouND ENgINEERS To VIRTuoSoS oF VIDEo, WE PRESENT NEARLY THE ENTIRE oEuVRE, FoR WHICH WE CouLD NoT BE MoRE PRouD. LIKE WHAT You SEE? You’RE IN LuCK. SCHMIDT’S SECoND ToME, ARTISTS II, CoMES ouT THIS MoNTH, FRoM STEIDL This page, top row, from left: Sam Durant, V20; Judith Eisler, V21; Marc Quinn, V22; Gavin Turk, V22; Sarah Morris, V22 Second row: Darren Almond, V22; Tracey Emin, V22; Antony Gormley, V22; Gillian Wearing, V23; Tony Oursler, V23 Third row: Andreas Gursky, V23; Pieter Schoolwerth, V24; Thomas Demand, V25; Santiago Sierra, V25; Cheyney Thompson, V25 Fourth row: Peter Fischli and David Weiss, V25; Urs Fischer, V25;
Yutaka Sone, V25; Patricia Piccinini, V25; Ólafur Elíasson, V25 Fifth row: Aïda Ruilova, V26; Paul McCarthy, V26; Sam Taylor-Wood, V27; Larry Mantello, V27; Francesco Vezzoli, V27 Sixth row: Banks Violette, V28; Jonas Mekas, V28; Catherine Opie, V28; Cecily Brown, V28; T.J. Wilcox, V28 Seventh row: Nobuyoshi Araki, V28; Sue de Beer, V28; Adam Fuss, V29; Robert Irwin, V30; Doug Aitken, V30
This page, top row, from left: Bill Viola, V30; Sebastiaan Bremer, V31; Philip Taafe, V31; Cameron Martin, V31; Laura Owens, V31 Second row: Elizabeth Peyton, V31; Robert Longo, V31; Keith Mayerson, V31; Mungo Thomson, V32; Tom Friedman, V32 Third row: Miranda Lichtenstein, V32; Collier Schorr, V32; Mathew Cerletty, V33; Nick Mauss, V33; Rita Ackermann, V33 Fourth row: Wes Lang, V33; Jenny Holzer, V34; Mark Handforth, V34; Naomi Fisher, V34; Amy Globus, V35
Fifth row: Marc Swanson, V36; Ed Ruscha, V37; Gilbert & George, V37; Guerilla Girls, V37; Tacita Dean, V37 Sixth row: Ricky Swallow, V37; Mariko Mori, V37; Tim Hawkinson, V38; Sean Landers, V38; Aleksandra Mir, V38 Seventh row: Richard Prince, V39; Seth Price, V39; Jim Drain, V39; Dan Graham, V40; Spencer Sweeney, V40 Eighth row: Hanna Liden, V40; Chris Burden, V40; Alex Katz, V41; Jason Rhoades, V41; Adam Helms, V42
This page, top row, from left: Dave Muller, V42; Ari Marcopoulos, V43; Matt Ducklo, V43; Eileen Quinlan, V43; Dan Torop, V43 Second row: Jeff Konigsberg, V44; Vito Acconci, V44; Marina Abramović, V44; Ann Craven, V45; Katherine Bernhardt, V45 Third row: Josh Smith, V45; Joe Bradley, V45; Jules de Balincourt, V45; Aaron Young, V46; Gedi Sibony, V46 Fourth row: Glenn Ligon, V46; Daniel Arsham, V46; Simone Shubuck, V46; Terence Koh, V47; Jonathan Horowitz, V47
Fifth row: Simon Starling, V48; Francis Alÿs, V48; Matthew Brannon, V48; Lawrence Weiner, V49; Daniel Buren, V49 Sixth row: Sophie Calle, V49; David Altmejd, V49; Franz West, V49; Paola Pivi, V49; Slater Bradley, V50 Seventh row: Agathe Snow, V51; Jon Kessler, V51; Kevin Ford, V51; Cai Guo-Qiang, V51; Fia Backström, V52 Eighth row: Kembra Pfahler, V52; Olaf Breuning, V52; Gardar Eide Einarsson, V52; Carol Bove, V52; Lisa Sigal, V52
This page, top row, from left: Kon Trubkovich, V53; Victoria Sambunaris, V54; Chris Dorland, V54; assume vivid astro focus, V54; Jef Wall, V55 Second row: Gus Powell, V55; Katy Grannan, V55; Nathan Carter, V56; Anne Collier, V56; Shirin Neshat, V56 Third row: Philippe Parreno, V57; Amy Grant, V57; Yael Bartana, V57; Sean Raspet, V57; Tauba Auerbach, V57 Fourth row: Cory Arcangel, V58; Christian Holstad, V59; Thomas Hirschhorn, V59; Michelangelo Pistoletto, V61;
Elmgreen & Dragset, V61 Fifth row: Mike Bouchet, V61; John Baldessari, V61; Elaine Sturtevant, V61; SaĂ˘dane Aff, V62; Katja Strunz, V62 Sixth row: Uwe Henneken, V62; Dorothy Iannone, V62; William Pope.L, V63; Mickalene Thomas, V63; Cyprien Gaillard, V64 Seventh row: Lorraine Oâ€™Grady, V64; Rob Swainston, V65; Alex Da Corte, V66; Rashaad Newsome, V67; Das Institut, V67 Eighth row: Roman Signer, V68; Jacob Kassay, V69; Gabriel Orozco, V70; Rinko Kawauchi, V71; Sze Tsung Leong, V71
This page, top row, from left: Elad Lassry, V72; Lee Quiñones, V72; Allora & Calzadilla, V73; Monika Sosnowska, V73; Robert Melee, V74 Second row: David Byrne, V75; Yoko Ono, V75; Jennifer Rubell, V76; Nicole Eisenman, V76; Josephine Meckseper, V77 Third row: Tom Sachs, V77; Uri Aran, V78; Virginia Overton, V78; José Parlá, V79; Lucien Smith, V79 Fourth row: Bernadette Corporation, V79; Slavs and Tatars, V80; Huma Bhabha, V80; KAWS, V81; Tatzu Nishi, V81
Fifth row: Sabisha Friedberg, V82; Will Ryman, V82; Lydia Venieri, V83; Marcel Dzama, V83; Walter Robinson, V83 Sixth row: Frank Heath, V84; Stewart Uoo, V84; J. Parker Valentine, V84; Rem Koolhaas, V85; Ragnar Kjartansson, V85 Seventh row: Jesper Just, V85; Kimsooja, V85; Berlinde De Bruyckere, V85; Claude Lalanne, V86; Ilya and Emilia Kabakov, V86 Eighth row: Adrian Piper, V86; Deborah Kass, V87; Andra Ursuta, V87; Katharina Grosse, V87; Kim Gordon, V88
v news water world
“Esther Williams was completely fearless and was determined to succeed with her smile and charisma,” says M.A.C Cosmetics creative director and senior vice president James Gager, who fashioned the new Alluring Aquatics capsule collection, inspired by the famed synchronized swimmer and actress. “The flms that she starred in were over-the-top magnifcent—they were larger-than-life ways of seeing water and swimming as an art expression.” The 32-piece collection includes bronzers, blushes, and lipsticks, as well as eye shadows, liners, and nail lacquers, all of which come in electric teal packaging with faux droplets, for that underwater efect. Dive in!
Getting your glow on while keeping skin protected is essential. This summer, Chanel is debuting a liquid version of their cult-favorite Les Beiges powder with Chanel Healthy Glow Fluid Broad Spectrum—a hightech tinted moisturizer with SPF 15. “Les Beiges Fluid is one stop to gorgeous summer skin,” says celebrity makeup artist Fulvia Farolf. She suggests layering the fuid underneath Les Beiges powder “for a more fawless efect, either in the same skin-matching shade or slightly deeper and applying the powder just on cheeks, forehead, and jawline, for a bronzer efect, which I adore!”
M.A.C CosMetiCs Extra DimEnsion Blush in sEa mE, hEar mE ($20), Extra DimEnsion EyE shaDow in silvEr sun ($28), nail lacquEr in shimmErfish ($18), lipstick in pEt mE, plEasE ($18), availaBlE at maccosmEtics.com
carrying on a legacy
“The Fiamma embodies the energy and passion of its namesake, Fiamma Ferragamo, who carried on her father Salvatore’s legacy to wardrobe women head-to-toe in designing the frst handbag collection for the house,” explains creative director Massimiliano Giornetti. After appearing on the Fall 2014 runway, the bag will ofcially launch in May with a short flm featuring the friends and family of Ferragamo.
ChAnel hEalthy Glow fluiD BroaD spEctrum spf 15 ($45, chanEl.com)
photogrAphy (this pAge) kenji toMA
sAlvAtore ferrAgAMo atlantic lEathEr with stinGray DEtail fiamma mini hanDBaG ($3,500, fErraGamo.com/fiamma)
3.1 PHIllIP lIM 31PHIllIPlIM.COM a.P.C. uSOnlIne.aPC.fr aDaM SelMan aDaMSelMan.COM aDIDaS Stan SMItH aDIDaS.COM alaÏa alaIa.fr aleXanDer WanG aleXanDerWanG.COM altuZarra altuZarra.COM BalMaIn BalMaIn.COM BanD Of OutSIDerS BanDOfOutSIDerS.COM BOnD HarDWare BOnD-HarDWare.COM BOtteGa veneta BOtteGaveneta.COM BrItt By BrItt BrIttByBrItt.COM BulGarI uS.BulGarI.COM BurBerry PrOrSuM BurBerry.COM ByreDO ParfuMS ByreDO.COM CalvIn KleIn CalvInKleIn.COM CalvIn KleIn COlleCtIOn CalvInKleIn.COM CartIer CartIer.uS CÉlIne CelIne.COM CHanel CHanel.COM CHanel BeautÉ CHanel.COM CHrIS SuttOn StuDIO SHOWStuDIO.COM/SHOP CItIZenS Of HuManIty CItIZenSOfHuManIty.COM ClarInS ClarInS.COM DIeSel DIeSel.COM DIOr DIOr.COM DIOr BeautÉ SePHOra.COM DIOrSKIn SePHOra.COM DKny DKny.COM DOlCe By DOlCe & GaBBana SaKSfIftHavenue.COM DOMInIC jOneS DOMInICjOneSjeWellery.COM DOnna Karan DOnnaKaran.COM eDDIe BOrGO eDDIeBOrGO.COM eStÉe lauDer eSteelauDer.COM falKe falKe.COM fauStO PuGlISI fauStOPuGlISI.COM fenDI fenDI.COM GIOrGIO arManI arManI.COM GIuSePPe ZanOttI DeSIGn GIuSePPeZanOttIDeSIGn.COM GIvenCHy By rICCarDO tISCI GIvenCHy.COM GuCCI GuCCI.COM GueSS GueSS.COM HuGO HuGOBOSS.COM HyeIn SeO vfIleS.COM j.W. anDerSOn j-W-anDerSOn.COM Kate MOSS tOPSHOP tOPSHOP.COM KenZO KenZO.COM lanvIn lanvIn.COM lInDa farrOW lInDafarrOW.COM
taking it to the streets
When looking for someone to realize his frst ofcial collection of clothing— flled with tough, urban separates, such as “second-skin” leather bomber jackets and pants lavishly adorned with gold zippers, to easily show of sexy tattoos, designer Giuseppe Zanotti didn’t have to look far. Beloved fashion editor and occasional photographer Carlyne Cerf de Dudzeele, who is famous for her street couture aesthetic, was his top choice. “Her vision is similar to innovative singers and hip-hop artists,” he says. “She can be so irreverent, powerful, and chic at the same time.” It was the perfect synergy for the tenpiece line, which was designed with a unisex focus. “The capsule embodies the same mixture of masculine and feminine energy as you can fnd on a music track,” says Zanotti. “It’s a leather world. I have been working with leather for so long I could easily design stylish couches.”
PHOtOGraPHy anD faSHIOn Carlyne Cerf De DuDZeele GIuSePPe ZanOttI DeSIGn capsule collection available in June ($2,200 to $4,300, giuseppezanottidesign.com)
lOuIS vuIttOn lOuISvuIttOn.COM M.a.C COSMetICS MaCCOSMetICS.COM MaISOn MartIn MarGIela MaISOnMartInMarGIela.COM
kate x topshop: take two
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it’s in the jeans
Always one to exhibit environmental conciousness, Stella McCartney has ensured that her extended line of desireable denim is now comprised of organic cotton and devoid of sandblasting techniques that are typically laden with chemicals. The new pieces—available in polka-dot and tie-dyed versions—hit stores this June and also boast a lower price tag, making skipping along the boardwalk that much sweeter.
Stella McCartney Jeans ($25o to $400, stellamccartney.com)
After a seven-year hiatus, the Pied Piper of fashion resumes her position as Topshop’s star attraction and greatest collaborator, back for a second go at her namesake collection for the fast-fashion retailer. What to expect from Kate Moss this time around? “I always draw inspiration from my own wardrobe, the collection is really true to my style,” says the model, who designed the line with the help of überstylist Katy England. “I also wanted to add more of the things I love but are hard to fnd, like vintage lace and vintage-embellished pieces, so I’ve made new versions of these.” The retro-inspired garments are the perfect attire for “going to music festivals”—Moss’s self-proclaimed (and well-documented) favorite summer activity. As for her other seasonal style tips? “I like wafting chifons in the summertime, and suede pieces,” she says. “It’s more summery than leather and a change from denim. Maxi dresses are good in the summer, worn with fats.” Festival goers, take note.
PHOtOGraPHy nICK KnIGHt Kate MOSS tOPSHOP dress and sequin Jacket ($700 and $170, topshop.com and nordstrom.com)
Zana Bayne ZanaBayne.COM
v magazine 6 5
tuesday: bold bomber
Be the coolest person in your ofce, with a statement jacket.
JACKET AND PANTS BALMAIN SWEATER PHILOSOPHY
Even if youâ€™re not the boss, you can dress like one. These mixed patterns read POWER. DRESS DIOR SHIRT (WORN UNDERNEATH) KENZO
wednesday: color block
Hump day can be a bear, which calls for a luxe casual ensemble. COAT AND TOP MAX MARA PANTS SONIA RYKIEL SNEAKERS ADIDAS STAN SMITH
fashion for days let these seven major pre-fall trends add some chicness to your weekly wardrobe, perfect for the office or out on the town PHOTOgRAPHY ALEX FRANcO FASHION gILLIAN WILKINS 66 V MAGAZINE
Makeup Gemma Smith-Edhouse (Total) Hair Brian Buenaventura (Management Artists) Models Zuzu (FORD) and Harleth Kuusik (The Society) Manicure Casey Herman (Kate Ryan Inc.) Digital technician Michelle Cipriani Photo assistants Nick Brinley and Alex Austen Stylist assistants Ashlee Hill and Michael Beshara Retouching Guillaume Dulermo (RND) Location ROOT Studios Catering Monterone
thUrSDAY: fUr reAl
friDAY: SweAter DreSSiNg
COAT GIORGIO ARMANI EARRiNgS CHANEL
DRESS McQ ALEXANDER McQUEEN SHOES 3.1 PHILLIP LIM SOCKS FALKE
Did someone say par-tay? This night look is on lock.
The ideal attire for fashionable farm-to-table brunches. JACKET RALPH LAUREN SKiRT PORTS 1961
A cozy—and cute!—kickof to the weekend.
SUNDAY: cArpet coAtS
You’re a museum-hopping weekend warrior. Look the part! COAT BOTTEGA VENETA DRESS (WORN UNDERNEATH) PROENZA SCHOULER TO SEE mORE fROm THiS SHOOT, gO TO vmAgAziNE.COm
G ET L U C KY
summerâ€™s awesome accessories come iN a crowd-pleasiNg texture of plush. siNk your claws iNto these graNd-prize fur bags aNd go home a champioN! PhotograPhy Dan Forbes Fashion Mia solkin 68 V magaZine
salvatore FerragaMo fox fur and brown python mini fiamma handbag ($4,900, ferragamo.com/fiamma)
fendi shearling and fox fur buggie baguette ($3,500, neimanmarcus.com)
Prop stylist Lisa Gwilliam (Jed Root) Photo assistant Meron Menghistab Prop stylist assistant Jack Richardson Location ROOT Studios Catering Monterone
chanel flapBag from the paris-dallas collection ($5,100, select chanel Boutiques, 800.550.0005)
VERSACE White Mink fur bag (Price uPon request, 888.721.7219) to see More of this shoot, go to VMagaZine.coM
puttin on the spritz
dress your skin in the chicest of summer scents. clothing optional 72 V mAGAZINE
From top: VIKTOR & ROLF BoNBoN EAU DE pArFUm ($115, SAKSFIFtHAVENUE.Com) THIERRY MUGLER ALIEN EAU EXtrAorDINAIrE ($89, mUGLErStorEUSA.Com) DIOR J’ADorE BoDY oIL ($55, DIor.Com) DOLcE bY DOLcE & GAbbANA ($112, SAKSFIFtHAVENUE.Com) MAISON MARTIN MARGIELA rEpLICA FLoWEr mArKEt ($110, BArNEYS.Com) bOTTEGA VENETA ESSENCE AromAtIQUE EAU DE CoLoGNE SprAY ($90, NorDStrom.Com) bYREDO PARFUMS FLoWErHEAD EAU DE pArFUm ($145, BYrEDo.Com)
Retouching Rich Imaging
a bevy of new products sure to provide that perfect golden glow PHOTOGRAPHY ROBIN BROADBENT BEAUTY NICOLE CATANESE
CloCkwise from left: GIORGIO ARMANI lUmiNesseNCe CC ($50, GiorGioArmANiBeAUtY-UsA.Com) DIORSKIN NUDe sHimmer HeAltHY Glow illUmiNAtiNG PowDer iN AmBer ($56, sePHorA.Com) CLARINS sUNsCreeN CAre oil sPrAY BroAD sPeCtrUm sPf 30 ($35, ClAriNs.Com) ESTﾃ右 LAUDER DoUBle weAr BrUsH-oN-Glow BB HiGHliGHter ($28, esteelAUDer.Com) ESTﾃ右 LAUDER limiteD eDitioN BroNZe GoDDess sHimmeriNG BoDY oil sPrAY ($40, esteelAUDer.Com)
A KALEIDOSCOPE OF COUTURE POP’S NEXT PROVOCATEUR SUBURBAN SUPERMODEL SEDUCTION TWO OF MUSIC’S BIGGEST HITMAKERS JOIN FORCES PLUS PRE-FALL, BEAUTY, SHEEZUS, AND MORE! V MAGAZINE 7 5
THE ELEGANT UNI VERSE the season’s most exquisite pieces as reenvisioned À la mandelbrot reveal the geometry of haute couture. behold the fractals of fashion photography nick knight fashion amanda harlech armani privÉ
Top and long plissé skirt in pastel tones with threedimensional embroidery featuring Swarovski crystals
HEADBAND (IN HAND) PIERS ATKINSON 76 V MAGAZINE
CHANEL HAUTE COUTURE
Embroidered bustier dress with black feathers and iridescent green-and-blue Lurex fringes, black silk tulle skirt embroidered with iridescent black sequins, embroidered corset with iridescent sequins in caviar and blue. Matching feather cape with black organza collar and black patentleather belt with jeweled button
DIOR HAUTE COUTURE
Of-white silk evening dress composed of three diferent layers, each layer with a specifc embroidery, which required the work of three diferent embroiderers
White silk romper suit with hood draped to form a deep “V” at the front and back, embroidered with Swarovski crystals of various sizes NECKLACE DOMINIC JONES
VALENTINO HAUTE COUTURE
“Electre” slate-gray crêpe toga dress
Silk and woven cotton hand-embroidered gown HEADPIECE CHRIS SUTTON STUDIO ARMBANDS PHOEBE ENGLISH
Blue silk organza dress based on colors from butterfy boards seen by Gaultier in a London antique shop
VIKTOR & ROLF HAUTE COUTURE
One-hundred-percent Latex dress with hand-drawn tattoos, each look was made to ft ballerinas from the Dutch National Ballet cast by the designers as models for the show
HEADPIECE NOEL STEWART
MAISON MARTIN MARGIELA ARTISANAL
Silk organdy and pongee dress with sequins and “buste Stockman” corset embroidered with small objects found at fea markets in Paris and Brussels
Makeup peter philips (art + CoMMerCe) hair saM Mcknight (preMier hair and Makeup) Model alexia Wight
IRIS VAN HERPEN HAUTE COUTURE S/S 2013
“Voltage” black dress with static acrylic laser-cut hairs headpieCe STEPHEN JONES
Manicure Marian newMan (StreeterS London) digitaL capture Joe coLLey (paSSeridae Ltd) Lighting direct Lighting 3-d Scanning Kev Stenning (rapido3d Ltd) photo aSSiStantS MarKn ogue, chLoe orefice, cLaude Legge, Britt LLoyd, andrew SMith StyLiSt aSSiStant gerry o’Kane MaKeup aSSiStant eLodie Barrat hair aSSiStantS vaLerie BenavideS and roger cho art departMent ciaran Linden BeaLe art departMent aSSiStant JaMeS croSS creative aSSiStant chriS Sutton caSting JeSS haLLett digitaL poStproduction toM wandrag (epiLogue iMaging Ltd)
CANDY LAND meet brooke candy, the trash-talking, pole-dancing, high-pitched real-life manga doll pushing the boundaries of taste and plotting to become the neXt princess of pop photography steven klein 96 V MAGAZINE
fashion nicola formichetti
teXt patrik sandberg
COAT And jewelry (ThrOughOuT), dress CAndy’s Own MAsK MORDEKAI On eyes, M.A.c cOsMEtIcs eyeshAdOw In gOrgeOus gOld
dress lanvin fur Hyein Seo bra stylistâ€™s own hand chain eddie borgo on lips, M.a.c coSMeticS MineraliZe rich lipsticK in all out GorGeous
TOP and SKIRT ZANA BAYNE MOUTH GUaRd BOND HARDWARE HandCUFFS (THROUGHOUT) Candy’S OWn
JACKET AND GLOVES CHANEL HEADPIECE BRITT BY BRITT UNDErWEAr (THrOUGHOUT) CANDy’S OWN
“I’m InfIltratIng from the InsIde. You make a proper pop song to InfIltrate mass mInds and then You push Your agenda.” —brooke candY
I don’t know who the fuck this is but stop e-mailing me. You are bullying me and I don’t want to deal with this. Don’t ever fucking e-mail me again. Brooke Candy’s initial reply to Sia Furler probably wasn’t what the singer-songwriterproducer was expecting. The in-demand Australian had stumbled upon Brooke’s Instagram account and discovered a few of her music videos online, and decided to contact her using the address listed on her YouTube page. “She had over a million views on this video called ‘Everybody Does,’ and I couldn’t believe that she had her e-mail address right there,” she recalls. “I wrote to her and said, ‘Hi, my name is Sia and I write for pop stars. I want to write hooks for you. I think you’re amazing, so please let me know who your manager and your label are.’ She wrote back to me and said that she didn’t have a manager or a record label, and I was shocked.” Furler had recently penned smashes for Beyoncé and Britney Spears, and had established herself as one of the most sought-after talents in the business, with Rihanna’s “Diamonds” as well as her own duet with David Guetta, “Titanium.” In the midst of preparing her seventh album as a solo artist, Sia certainly wasn’t on the lookout for new talent to groom. “I just thought, Who is that freak?” she says of discovering Candy. “I thought, This is some sort of glam alien. When I met with her, she was such a sweet person, so interesting and dichotomous…so tough, like a sexual gangster.” “I was poor as fuck,” Brooke recalls. “I had nothing to lose. I was being bullied, privately, by really successful musicians, so at frst I assumed this e-mail was part of that. But we met that day in Echo Park and just vibed. Right then and there she decided to help me, and she has been my biggest supporter ever since.” True to Sia’s word, Brooke is friendlier and more charismatic in person than her snarling, expletive-riddled raps and provocative image suggest. Her interests run the gamut, from the countercultural (she warns me against watching A Serbian Film, an ultra-shocking, globally controversial movie she managed to get a pirated copy of ) to the very mainstream (she gets excited talking about Kanye West, whom she refers to, with adulation, as “an artist”). And despite her racy style, partially gleaned from her experiences as a stripper in L.A., her cartoonish hair, makeup concepts, and sugar-sweet stage name are 100 percent pop. In the summer of 2012, Brooke Candy entered the cultural conversation when she appeared as a beautiful cyborg warrior in the music video for “Genesis,” by Grimes. It helped establish her cultlike fan base, who were attracted to her post-Tumblr, viralcouture aesthetic, which eventually caught the eye of fashion-world image makers like Nicola Formichetti and Terry Richardson. From Sia’s perspective, Brooke had all of the necessary ingredients to make it big. “She has a star quality. When I met her, I saw a lot of myself in her, and I wanted to protect her from the mistakes that I had made. I wanted to make sure that she worked with trustworthy people. I wanted to give her the greatest chance of long-term success. When I found Brooke, she wasn’t in a great place, and I felt like rescuing her. It was like a perfect storm. I don’t think I’ll ever do it again.” Their fateful frst encounter played out like a scene from a VH1 movie. Sia told
Brooke that she could probably get her a record deal and a small band to tour, and that she could reasonably make a hundred grand per year. Her underground credibility would remain intact, but girl records are a tough market, she explained, and longevity wouldn’t be guaranteed. The alternative, she ofered, would be to clean up the songs and make them palatable for radio, and turn her into a more mainstream star—with a much bigger paycheck. Brooke’s response: “I want to take over the world.” “What I was doing before was practice,” Brooke explains with conviction. “I think the only people who know about me are underground. I’m huge in the gay clubs. But I don’t want to constantly rap about my pussy—even though I love pussy and I’m a feminist. I want to speak to everyone…not just one group of people.” A new partnership forged, Sia executive-produced Brooke’s debut EP, Opulence, in its entirety before shopping it around to major labels, all of whom took interest due to the high-profle talent on deck. The music was delivered on signing with RCA, and will presumably see release without delay. Current fans can expect more depth and range from the artist known for a dance-foor banger called “I Wanna Fuck Right Now.” But for those just getting to know her, Brooke hopes for a fresh introduction. “I know what I am as an artist, and that’s a visual one. I have high expectations for my visuals, and now the songs have to match. I have so much to learn, and I’m working really hard at it. I’m taking singing lessons and listening to what Sia is telling me. The songs I made were fun, but with Sia’s entrance into this project, I got into making real, thoughtful music.” Sia thinks Brooke’s talent is more natural than she lets on. “She has a Madonnaesque quality,” she says. “It’s been exciting for me to write her some more emotional work, and she really does it justice. There is the fun pop, and she still has her dirty rap, but it’s empowerment rap. She hasn’t lost any of her identity as a strong female artist. We found a cool balance.” That balance will be tested further when RCA releases Brooke’s full-length album later this year. Brooke says she went with the label because she felt they understood her creative goals, and she was thrilled to be part of a legacy that includes two of her favorite artists, Britney Spears and David Bowie—“fucking crazy,” she says. Just don’t expect this provocative pop princess to ape any icons from the past. “So many artists have the platform I’m working toward and they speak for nothing,” she says. “If you have that power, you have a responsibility to stand for something. I stand for equality. I have been kicked out of my home for being gay. I felt that. I lived that. I want to speak out on things that I have had to deal with that have crushed me. I want to empower people and make a diference. So I’m infltrating from the inside. You make a proper pop song to infltrate mass minds and then you push your agenda. And you need a certain amount of shit to back up what you’re saying, otherwise what you’re saying is just going to dig you an early grave. Kanye West has gotten to that place, and he’s smart about it. He transcended. I hope to be there too.”
Opulence is available May 6 frOM rca
COAT HYEIN SEO TOp, bOTTOms, Arm guArd SETH PRATT LEg pIECEs (ThrOughOuT) ZANA BAYNE hAT CAndy’s OWn shOEs sTyLIsT’s OWn
THIS SPREAD: CLOTHING CANDy’S OWN ON EyES, M.a.c cosMetics EyESHADOW IN NEHRU AND M.a.c cosMetics STUDIO SCULPT LASH IN SCULPTED BLACK ON SKIN, M.a.c cosMetics MINERALIZE MOISTURE SPF 15 FOUNDATION
SKIRT DIESEL JACKET And TIghTS STYlIST’S OWn CUFF (WORn AROUnd nECK) BOND HARDWARE
TOP and SKIRT ZANA BAYNE MOUTH GUaRd BOND HARDWARE MaKeUP KabUKI fOR M.a.C COSMeTICS HaIR SHOn (JUlIan WaTSOn aGenCy) Manicure Bernadette thoMpson (the Bernadette thoMpson nail collection) lighting saM rock digital technician denis VlasoV photo assistants alex lockett, kris shacochis, ellen Fedors stylist assistants daniel cingari, prince Franco, ian Milan, andreas aresti hair assistants ryuta saiga and corey tuttle production adaM sherMan and JenniFer lee (steVen klein studio) production assistants cal christie and nikki reFghi equipMent rental B2pro catering Monterone
honey im home
statuesque stunner rosie huntington-whiteley plays house in pre-fallâ€™s chicest swimwear and high-powered separates. watch her shake up the suburbs with executive sex appeal photography collier schorr fashion mel ottenberg
SWIMSUIT ADAM SELMAN ShoeS StuArt wEitzMAN 108 V MAGAZINe
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JACKET AND PANTS CÉLINE WATCH BULGaRI SHOES SaINT LaURENT BY HEDI SLIMaNE BELT MaxIMUM HENRY NECKLACE (THROUGHOUT) CaRTIER
SHIRT SAINT LAURENT BY HEDI SLIMANE SHORTS A.P.C. On cHeekS, CLARINS mulTI-bluSH cReam bluSH In peacH
shirt PRADA PANts THE ROW BELt A.P.c.
Coat and pants MICHAEL KORS
PANTS GUCCI SUNGLASSES LINDA FARROW oN SkiN, CLARINS iNTENSE BRoNZE SELF TANNiNG TiNT
MAkEUP YUMi MoRi (ThE WALL GRoUP) hAiR hoLLi SMiTh (ToTAL) ModEL RoSiE hUNTiNGToN-WhiTELEY (iMG) Manicure KiMMie Kyees (celestine) Digital technician DaM capture lighting DaviD Diesing photo assistant raphael catelain stylist assistants alexa lanza anD Jahleel Weaver MaKeup assistant MeguMi asai hair assistant Whitney thoMas proDuction laura Katzenberg (proDucit inc.) proDuction assistants MattheW Kone anD Maria pareDes retouching brent aDaMs (232 stuDio) equipMent rental quixote location iMage locations catering FooD+lab
T-SHIRT calvin klein PANTS calvin klein cOllecTiOn SHOES SainT laURenT BY HeDi SliMane wATcH vINTAgE ROlEx
photography steven klein
fashion arianne phillips
Bow down to two of popâ€™s Biggest icons as Madonna and katy perry unapologetically deMonstrate the power Moves that have taken theM to the top. But Millions of alBuMs sold and the love of Billions arenâ€™t all the duo have in coMMon. here they rap aBout tour strategies, religious upBringings, and what it Means to rule the world 116 V MAGAZINE
Katy wears Dress anD gloves Dolce & Gabbana Boots Stella Mccartney MaDonna wears Dress anD gloves Dolce & Gabbana Boots Stella Mccartney
Katy wears Dress Bordelle Briefs la Perla Gloves vintaGe from The Way We Wore stocKinGs (throuGhout) agenT ProvocaTeur shoes (throuGhout) chrisTian louBouTin necKlace lynn Ban maDonna wears Dress Bordelle Bra (throuGhout) TaBleaux vivanTs Garter Belt (throuGhout) aTsuko kudo Gloves vintaGe from The Way We Wore stocKinGs (throuGhout) agenT ProvocaTeur shoes (throuGhout) Prada
Katy wears JacKet and sKirt Oscar de la renta Belt Paul seville rings YePrem Madonna wears JacKet and sKirt Oscar de la renta gloves causse Gantier Belt Paul seville
MADONNA Have you recovered from the photo shoot? Because I have a sore neck. KATY PERRY I was sore in my upper body and in my butt area from all that squatting. M It’s good to be sore in your butt. My neck is sore from that wonderful moment when I was sucking on your heel. I kept thinking, How many bacteria do you think there are on the heel of a shoe? Then I thought, There’s no point. Do they have Purell mouthwash? KP Why don’t they have that yet? I feel like I want to live in a Purell world. This sounds very frst-world problems, but we meet so many people a night on tour, and you never want to cancel a show because you caught a cold. M Yeah. It’s something I think about. I load up on B12 shots and things like that. KP I actually have a B12 shot sitting outside my room, ready to jab me in the butt. M I think you should learn to do it on your own, so you don’t have to deal with strangers coming into your dressing room. What you do is you just turn. I put my knee up on a chair and put all my weight onto the leg I’m not shooting it into and squeeze the fat together so that it goes into the fatty tissue. KP Right. Madonna and Katy Perry shoot up! Yeah! M Let’s face it, the person who has the least amount of fun on tour is the artist. Because after the show everybody else can go out and party and not worry if they get a cold or whatever, but the artist has to go home and recover and prepare for the next one. So speaking of being on tour, it’s such a massive undertaking for me, but when I saw you the other day, you looked so chilled and relaxed and beautiful. A couple of weeks before my production rehearsals I look and feel like a truck ran me over. KP Oh, thank you, but I look like that now. M [laughs] I want to know what your secret is. Because you didn’t look like that. KP Now I defnitely look a little bit stressed. I’m actually sitting on the couch and I’m only into my fourth day of production rehearsals. I’ve already ordered a doctor. M [laughs] It is the ultimate immune destroyer, being on tour. Aside from long hours and dancing and singing, you’re also in places where it’s freezing cold or insanely hot or dry or the air-conditioning is crazy... KP Don’t do AC… M I don’t either. It drives everybody insane. KP I’ve done some preventative stuf. I went to a Chinese doctor about a year ago and all the vitamins I take are curated to my blood. And then the thing that I do that I really believe in is Transcendental Meditation. M Really? I didn’t know that you meditated. KP Yeah. I do TM, and it saves my life. M And do you do it in the morning or at night? KP I usually do it in the morning. You’re supposed to do it twice, but I just wake up and plop right into it. The trick is to do it before you look at your phone, because once you look at your phone, you’re done. M Yeah. Good idea. I used to do it, but I would sometimes fall back asleep. KP But that means you’re really exhausted. I feel a hundred times better when I do it. M Do you do two run-throughs a day? KP Not every day, if I’m being honest, but we defnitely do one, and a lot of clean up.
M But you’re also doing a lot of tech stuf, so there’s probably a lot of stop and start. KP I’m doing lights. I’m doing video. I’m doing edits. I’m picking my next single. M Oh my God. It’s too much. It’s just too much. KP Sometimes you wish you were a girl group, so you could delegate more, you know? M Yeah. It’s kind of like being a single parent. [laughs] KP Yeah, I can’t imagine. You’ve got a lot of kids. They all have diferent attitudes. M Oh yeah. We all went to see the New York City Ballet last night. It was fun to see my children’s reactions to ballet and the theater in general. KP Who liked it the most? M Lola. She’s had ballet and dance training and could appreciate the discipline of everything. KP And I’m sure she has the understanding and the consciousness to really be able to love that kind of approach. M Yeah, totally. So getting back to the rehearsals and the process, the fact that you even have the patience to do this interview is amazing to me, because when I start doing rehearsals and my manager comes at me to stop for a photo shoot or an interview, I’m like, “Get out! Get out of here!” KP That’s what I did last night…I’ve never said that in my life. I’ve never blown of Madonna. M I get it. I’m sure you’re very involved with your lighting design and your rear-screen projections and the costumes. All of it is so time-consuming. KP Oh yeah. I’m picking the shoes for the dancers! M Of course you are. You have to. You can’t leave that up to other people, because then when you see them on stage and you don’t like them, it’s too late and you have no one to blame but yourself. KP Do you have little things that you carry around for protection? Like, I have crystals and little tchotchkes around my dressing room. M Yes, I do. I carry 22 volumes of the Zohar with me everywhere. KP Oh wow. M That’s one thing that I do. I’ve been studying Kabbalah for 18 years. And I feel like it protects me. So wherever I go and they set up my dressing room, I have a bookshelf with the Zohar. But I also take miniature copies of one of them and my crew guys tape them up inside of every lift and any mechanism that has the potential to fail. KP Really? M Yes. I’m so superstitious and don’t trust stages. You know, people are human, they make mistakes sometimes. They don’t set things up properly. So I drive everyone insane, because if there are mechanisms and moving parts in the show, I make them test everything and show it to me during the sound checks. KP All the aerials and stuf? M Absolutely everything, and it drives people nuts. But, you know, that’s a manifestation of OCD and just having things go wrong in the past and having people get hurt. I can’t aford that. KP I’m so OCD I want those letters in alphabetical order. C-D-O would be my preference. M Details.
Madonna wears dress Bordelle Gloves vintaGe froM The Way We Wore neCKlaCe lyNN BaN
Katy wears sKirt Oscar de la renta Madonna wears JacKet and sKirt Oscar de la renta Gloves causse Gantier Belt Paul seville
Madonna wears Jacket and skirt Oscar de la renta Gloves causse Gantier Belt Paul seville katy wears Jacket and skirt Oscar de la renta rinGs YePrem
KP Yeah. I’m at fault for it too, so it’s hard to even comment about it. M We all are, to a certain extent. The Internet is the greatest invention of all time. It’s incredibly helpful and you can start revolutions with it, but it’s also absolutely the most dangerous thing in the world. The same amount of darkness and the same amount of light are in the same place. KP All just made out of zeros and ones. M [laughs] Okay, another question. Can you think of situations or people that inspire you or inspired you to begin with or that keep you going? It could be anyone from your parents to some artist or a teacher. KP An artist? Oooh. M My big inspiration when I frst started out was teachers. Teachers that believed in me, or painters, or writers, or people who don’t have anything to do with the business that I am in. KP I would say it would be the love of music that I had when I was really young. It was like fnding another language. Music touched me, like I had someone that could fnally speak to like a therapist or a friend. It was fnding solace in lyrics. M So you found words... KP Words are so powerful to me. There was a real connectedness with lyrics, so I picked up a guitar at 13 and started writing my own then. M So I imagine reading and writing were important to you when you were growing up. That method of transporting, transmuting, transmitting information. KP Reading and writing were important, but I didn’t have the formal education to continue that into the end of my teenage years, when things were supposed to be really developing. I was homeschooled sometimes. I was always being taken out of school. I was in quote-unquote Christian schools, which weren’t always focused on the education. I never really went to high school. M You didn’t? You didn’t go to high school, but you were homeschooled to get your GED? KP Yeah, I only ever went to one semester of my freshman year of high school, but now more than ever I’m thirsty for education in any way, shape, or form that it comes. I’m soaking up information constantly. I want to know more. I never want to stop learning. M I think you have to, in order to stay relevant and to continue to be creative. I’m a big ballbuster about people reading and asking questions. I don’t see how there can be any other way. It’s about information and digging deeper and investigating. Peeling back the layers. Speaking of Christianity, I don’t think many people who call themselves Christian even understand the evolution of Christianity. Like where it started or how it began. KP My dad is very Pentecostal and emotional and excited and dramatic with his preaching, but my mother studied at Berkeley and speaks French. The approach with her style was more educational, and I was always more drawn to that. I liked knowing the true hard facts, because it took more than just the idea of faith for me. I wanted more. M There needs to be a balance of both, and I think that works in all areas of life. You need the heart and the brain to be married. At a certain point you have to have faith. You can’t explain everything. Some things are inexplicable. You need to intellectually understand things, and I think that’s a big problem with religion. The idea of religion and science. People feel like there has to be a separation. KP No. I wish they would be married. M I agree. I think if they were married and if people did understand that there was an interface between religion and science, we wouldn’t be in the situations that we’re constantly in. Wars over religion. I believe that the evolution of our species can coexist with the story of Genesis, Adam and Eve. KP When people don’t know the facts, they feel inferior and get defensive. Then they react in a way where they’re more passionate about something they don’t understand. M I agree. So are your parents supportive of your work? KP It’s a very strange dichotomy. They love me and support me, of course. But I think they do turn a little bit of a blind eye and don’t necessarily agree with everything I do. Thankfully we have come to a wonderful place of agreeing to disagree. M Yeah, that’s where I am with my dad too. He spent many years just freaking out. Being a very traditional Italian Catholic father and not really understanding why I had to do the things I had to do. I would always say, “Dad, I’m an artist, I have to express myself. You don’t understand.” I think he’s fnally come to terms with it. It’s only taken 30 years. He’s like, Do you have to simulate masturbation on the bed? Do you have to? Yes, Dad, I do. KP I haven’t gone that far yet, but maybe under your great mentorship I might reach that point. M [laughs] Well, one doesn’t discover these things until becoming a parent. Now I have huge amounts of admiration, respect, and sympathy for my father. So, the last question, which is kind of connected. Obviously you were the curator for Art for Freedom for a month, which I hugely appreciate. I don’t know how much of a dent it is making on the world, but I do believe that we are responsible as artists to not only refect what’s going on in the world but also shape it. I believe that wholeheartedly. Do you agree? KP I do. I think that it’s something that you realize along the way. Sometimes that’s the initiative for becoming an artist, and then sometimes you are…what’s the word...a messenger, and you don’t even know it. M You’re the channel. KP Yeah, you’re channeling and you’re not conscious of it and then suddenly you become conscious of it. I feel that my music is more on the inspiring-joyful-light front. Not light as in lighthearted, but bringing light to a dark world. I believe that we can ofer light, love, inspiration, and equality through these songs. M I think of all the art forms music is the most accessible and healing and universal. KP One hundred percent healing. M Alright, let’s end on that note. The healing energy and capacity of music. Whilst looking at pictures of the heel of your shoe in my mouth. I love the paradox. I really enjoyed working with you on the photo shoot. People always expect when two divas get together that there might be weird vibes or a strange competitiveness, but this was nice and easy and fun. KP If you ever come to the show, there’s a little wink to you. I’m paying my dues! M I’m looking forward to it.
Manicure (Katy Perry) Pattie Yankee for Patricia Nail Lacquer Manicure (Madonna) Maki Sakamoto for Gelish Gel Polish (Kate Ryan Inc.) Set design Andrea Stanley (Lalaland Artists) Lighting director Sam Rock Digital technician Charles Lu Post technician Jim Alexandrou Lighting assistant Kris Shacochis Photo assistants Alex Lockett, Patrick Racheff, Andrew Smith Stylist assistants Eyob Yohannes, Lauren Bensky, Esther Mathilla Makeup assistant (Madonna) Nhi Danh Hair assistants (Katy Perry) Ryuta Saiga and Corey Tuttle Hair assistant (Madonna) Daniel Garofali Tailor (Katy Perry) Wesley Nault (In-House Atelier) Tailor (Madonna) Alberta Roc Producers Oliver Hicks and Kellie Tissear (North6) Production for Steven Klein studio Adam Sherman Production coordinator Kevin Kenrick (North6) Production assistants Ryan Morgan and Cameron Everett (North6) Set design assistants Nick Thalhuber and Devin Rutz Location Highline Stages, New York Special thanks Shay Normann
KP God is in the details. I really appreciate people being the best they can be in whatever feld they’re in. M Speaking of people who are the best. You have the best dresser. I love Tony. KP Oh, Tony! He’s such a great, hard worker. I don’t know if Lisa was ever on tour with you as well? Because he brought her. M They’re a great team. I hope they’re both dressing you in your quick change. You’re in very good hands with those two. KP I love that that’s exactly what they do and I can yell at them and at the end of the night there are no hard feelings. M They’ve got thick skin. I’ve had some major temper tantrums in my dressing room. KP Having your fesh zipped up in your boots before you’re supposed to go act spritely on stage is the worst thing ever. M Yes. So many things can go wrong. It’s all about the quick change. It’s kind of like in Formula One when the drivers stop and the crew takes the car apart and then puts it back together again. You better hope and pray that they do it in the right order. KP That’s a great analogy. M Okay, who’s your director? Do you work with the same person every time? KP Yeah, I do. His name is Baz Halpin. He did Pink, Taylor Swift, Cher. M Pink’s show was great. KP Amazing. That’s an excruciatingly hard looking show. I don’t know how she does it. M She’s a little toughie. She’s an athlete. KP When did you start dancing? M When I was in junior high. I’m sure that’s what saved me. My dance training and my super Catholic upbringing. The combination of discipline and rigor and stick-to-theplan and don’t be a fake. KP Are you always on time then? M No, no. Unfortunately. I expect everyone else to be, of course. KP Sure! I understand. M But I’m only a few hours late. [laughs] I want to be on time. I try to be on time. KP There are many variables. M Well, when you have four children, everything goes out the window. They slow me down enormously with their surprises. But in terms of my show, we got major aggro from my management for being late. But I have this set amount of time between sound check and the show. I need exactly three hours to get ready. KP That’s about as much time as I need. Even if you are a little bit late, it’s not like you’re sitting backstage drinking champagne and watching your favorite TV show. M Right. I’m not partying. I’m not being frivolous or lazy. There is no time to waste. KP Right. M So…the thing about touring is that it’s the one thing left that nobody can mess with. People can download your music and you can make a video and you can create a whole new version of yourself, but when you go on tour, you have to pay the piper. When you go on stage, you have to do it, and there’s no faking. You could lip-synch, that’s true, but I feel like there’s something about live performance where it’s the one thing left for an artist that’s living on the edge and there’s no way to cheat it. It’s the one risk we’re still allowed to take. Do you feel like that too? KP I feel like that’s where the true connection with your music comes from. I still believe that you reap what you sow on tour. If you’re touring, you’re really planting personal seeds in the fans. I’m very one-on-one. M Do you stop during your sets sometimes and talk to them? KP Oh yeah. There’s nothing more boring than an artist coming to a city and saying “Hi, City Center” and that’s the only thing they say. I like to go outside the palace walls, put on a hat, get on a bike. Being a real observer and ingesting the vibe of a city so that when I walk on the stage I have something to say. Otherwise it feels like you’re just using the fans in some ways. M Yeah, I think it’s super important. Does it bother you that you can’t just think about making music and being an artist? You have to think about branding and selling products as well? KP I am a healthy percentage left- and right-brained, so I can dream dreams and be very pragmatic, and that has served me well. Everything has to pass through my eyes and my ears, but I think that’s why in a time of short-span pop-up careers I’ve had a longer one than most people would have bet on for me. M If you get down to betting, no one’s going to bet on you. Unfortunately we don’t live in a world where people support or encourage longevity or people doing well. You have to manufacture that yourself. KP I’ve done things for creative reasons and also to make sure that I can have the type of tour that I want. I have to pay the bills, because there are a lot of them to pay. We’ve got over 120 people on this tour, not counting our openers. I always say, I’m the biggest domino and if I fall then everybody falls. M It’s a huge responsibility, when you think about how it used to be and how it is now. KP It seems everybody expects so much transparency these days. Like when someone at the photo shoot was talking about Google contact lenses, I just thought, I’m never leaving my house when that thing comes out. M It’s too much. I don’t want everybody to know where I am all of the time. I don’t understand people who say “I’m here now” and how they leave bread crumbs and say “I’m in this city and now I’m on the plane. Now I’ve landed.” Like, Okay, alright, stop telling everybody. KP We get it! M I don’t want to see the inside of the plane you’re on. KP We live in a really self-important time. People want complete transparency, but I don’t think we understand that when we get it there are all kinds of faults that I don’t think we want to see. It’s weird saying this, because I like to be an encouragement and a light, but everyone is in a state of self-indulgence. I think it’s a by-product of social media. Everybody is encouraged to... M ...to just put their shit out there.
Art Director GiovAnni BiAnco MAkeup (kAty perry) SAMMy MourABit for coverGirl (StreeterS) MAkeup (MADonnA) GinA Brooke for intrAceuticAlS (J ArtiSt MAnAGeMent) HAir (kAty perry) SHon (JuliAn WAtSon AGency) HAir (MADonnA) AnDy lecoMpte (tHe WAll Group) retoucHinG Box StuDioS to See More of tHiS SHoot, Go to vMAGAzine.coM
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LILY A LL E N
As she gets reAdy to releAse her third studio Album, lily Allen cozies up with v’s editor-At-lArge to discuss mummyhood, fAshion, And femAle AnAtomy
I only have the qualifications to be a pop star. DB Fall back on that then! What is your creative process like? LA I write in the studio. I don’t prepare anything ever. DB So you walk into the studio unprepared. With nothing. LA It’s really inappropriate. Most people come in there like, “I’ve got a song, let’s record it.” But then once I’ve got it, it takes about half an hour to write the whole song. DB Sheezus is a good name. My favorite thing about you is your irreverence with just about everything. There is always a sense of humor and a sense of irony. LA Well, I have to amuse myself. I think that if you only see things in terms of an endgame and you’re really careerist, you’re only going to end up disappointed. Because it does end. So you have to have a sense of humor about it. I don’t really have, like, goals. I’m just really happy and lucky that I’ve been able to do what I’ve been able to do and not take it too seriously. DB I will never forget when you showed me the video for “Hard Out Here,” which has those giant balloons in the background that read, “LILY HAS A BAGGY PUSSY.” I was speechless. LA That video was referencing a whole load of other videos. That was a rif on that Robin Thicke video, the one that had the balloons that said he had a big dick. The director thought it would be funny if we got the same balloons and said that I had a big dick. But I said, “Hmm, that’s not really funny. Let’s say I have a baggy pussy.” And he just looked at me like I had ten heads. DB Do people look at you like that often? LA Always.
SheezuS iS available in May fRoM WaRneR bRoS. RecoRdS/PaRloPhone
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128 v Magazine
Fashion Hanna Kelifa Location Chiltern Firehouse, London Special thanks Lucy McIntyre and Ian Telford
DB Is there a relationship between your music and your fashion? LA The two are intertwined for everyone. Style and music have always gone hand in hand. But in my case, I’m not really into one specifc type of music, so maybe that’s why I dress completely diferent all the time. DB When you frst started making music, when your song “Smile” went number one, I would have said your style was super infuential. In fact, you and I went to Chanel’s couture show together in January, and it was all couture dresses with tennis shoes. That was your look. LA That was a big moment for me, I guess. But I stumbled upon that look—no pun intended—because I thought I was too young to have high heels. DB How old were you when you started doing that? INTERVIEW DEREK BLASBERG LA Twelve? Thirteen? I have an older sister so I had her PHoToGRAPHy ALEx FRANCo hand-me-down dresses, and I always just liked sneakers Derek Blasberg Last night we had dinner and you were when I was a teenager. Like for warehouse raves. You wearing shoes that lit up. Where did you get those? can’t have heels in that kind of situation. Lily Allen I went to a show of a designer named DB What did you wear to a warehouse rave? Ashish [Gupta], whom I love. He did a collaboration LA Baggy trousers with fuorescent underwear and little with Buffalo, and created these shoes that have flash- Nike bra tops. up lights in the soles. I saw them and was like, “I need DB Talk to me about your new album, amazingly called those.” So I went backstage and literally pounced on the Sheezus. floor, looking underneath all of the rails trying to find LA I started writing it when my oldest child was eight which ones fit me. months old and she was quite sick. She needed lots of DB And since you’re Lily Allen, you can just take them? one-to-one care. I had no intention of coming back to LA I made it so awkward that they couldn’t do anything music and recording at all. but let me. DB Why? DB Do you like dipping into the fashion world? LA I was kind of done with it. I was tired from touring LA I’m not really a big fashion show person. I go to the and from the lifestyle. She was pretty sick and it took a Chanel show in Paris because they invite me and give me lot of energy from me, as it would any mum. By the time free clothes. I went to Henry Holland’s show because he she got better I thought, I’ve got to do something else in is a friend of mine and it’s nice to show support. the daytime. Then I realized I’m not going to law school.
KATZ’S OWNS PASTRAMI DYLAN OWNS 4TH STREET ANGELIKA OWNS ARTHOUSE KIETH OWNS BRASSERIE HOOK AND LADDER OWNS GHOSTBUSTERS CANAL OWNS FAUX MARIO OWNS ITALIAN UNION SQ.OWNS GREEN MARKET LOMBARDI’S OWNS PIZZA CHARGING BULL OWNS NYSE PITTI OWNS AL FRESCO CHELSEA OWNS GALLERIES SMALLS OWNS JAZZ SCORSESE OWNS FIVE POINTS TRIBECA OWNS FILM EAST VILLAGE OWNS THE ALPHABET RUSS & DAUGHTERS OWNS LOX JOHN OWNS CBGB MURRAY’S OWNS BAGELS OLDE GOOD THINGS OWNS ANTIQUES ST.MARKS OWNS PUNK FIT OWNS FASHION JOYCE OWNS MODERN DANCE BARNEY GREENGRASS OWNS WHITEFISH DIA OWNS EARTH STRAND OWNS BOOKS CHANG OWNS NOODLES FANELLI’S OWNS POWER LUNCH IGGY OWNS AVENUE B ABC OWNS HOME SID OWNS THE CHELSEA THE HIGHLINE OWNS WALKING GREENWICH VILLAGE OWNS BOHEMIAN LIQUOR STORE OWNS MENSWEAR MEATPACKING OWNS STILETTOS CENTURY 21 OWNS BARGAINS MARC OWNS BLEECKER RAOUL’S OWNS BAR STEAK GRANDLIFE HOTELS OWNS DOWNTOWN
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V89 sUMMER 2014 VMAGAZINE.COM