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 September 2018

586
Cover Story
Is there seduction in
concealment? Safety
in charade? Lynn
Yaeger surveys the
dainty veils, balaclavas,
and full-face glitter
from the fall runways
and considers a game
of hide-and-seek

594
She’s Electric
The future of fashion

FAS HIO N E DITO R: P HY LLIS P OSN IC K. HAIR, OSCAR JAMES ; MAKEU P, DIO NNE WYN N . SE T DESIG N, MARY H OWARD STUD IO. DE TAILS, S E E I N THI S ISSUE .
is bright—literally!
Model Vittoria Ceretti
takes fall’s head-
turning colors and
must-have tech
accessories for a
walk on the shores
of Coney Island

612
Index
Greek geometries
meet Moroccan
romance, Tanzanian
FUNNY GIRL textiles, and Indian
ACTOR/COMEDIAN TIFFANY HADDISH IN AN ALEXANDER MCQUEEN CORSET TOP, BELT, SHOES, AND shimmer in
TORY BURCH BRIEFS. DAVID YURMAN EARRINGS. PHOTOGRAPHED BY ANNIE LEIBOVITZ.
pieces perfect for
globe-trotting
500 560 new life to a storied Horowitz meets the with models
Here, There, To the Max Antigua home. young newcomers old enough to vote? 627
Everywhere The new director of the It was, as Hamish picked from By Maya Singer Last Look
Fashion has never Metropolitan Museum Bowles discovers, thousands to star
been more celebratory of Art is a lively Austrian a labor of love
Cover Look Double the Fun
of global influence, as with wide-ranging 580
the best fall looks— experience and a 574 The Global Table
and a visionary group belief that ancient On Her Own Amid a worsening
of boundary-defying and modern art play Terms crisis, refugees have
designers—ably prove well together. Dodie On the eve of her found an enthusiastic
Kazanjian meets highly anticipated welcome in the food
538 Max Hollein return to the U.S. world. Tamar Adler
Beyoncé in Her Open, Sloane reports on a feel-good
Own Words Stephens is
564 (and delicious)
The star on pregnancy, determined to be culinary trend
her lineage, and body
She Must Be Joking a different kind of
acceptance. As Tiffany Haddish is champion—win
told to Clover Hope the rare celebrity who or lose. By Louisa 582
says exactly what’s Thomas Age Appropriate This month, Vogue offers readers two memorable covers.
546 on her mind. Rawiya Stories of burnout— ABOVE LEFT: Beyoncé wears a Gucci dress and Lynn
Coat Check Kameir gets in the 576 and worse—are Ban headpiece. Floral headdress by Rebel Rebel. ABOVE
Little red riding hoods head of comedy’s Brilliant & rife in a modeling RIGHT: Beyoncé wears an Alexander McQueen dress and
and knife-sharp new queen Bellissima industry filled with corset. Lynn Ban earrings. For both: hair, Neal Farinah;
tailored trenches As the first of Elena vulnerable mid-teens. makeup, Sir John for Marc Jacobs Beauty. Set design,
make fall’s 566 Ferrante’s beloved So isn’t it time for David White. Details, see In This Issue.
outerwear a many- Past Perfect Neapolitan novels the fashion world to Photographed by Tyler Mitchell.
splendored thing Tory Burch has brought comes to TV, Jason commit to working Fashion Editor: Tonne Goodman.

138 SEPTEMBER 2018 VOGUE.COM

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 ADVERTISEMENT

Food in Vogue is a chronicle of the fashion authority’s

long-standing fascination with culinary culture,
drawing together images that have appeared in Vogue
from the world’s top photographers—
Irving Penn, Helmut Newton, Anton Corbijn,
Annie Leibovitz, and others—as well
as the journalism of food writers, including
James Beard Award–winning Jeffrey Steingarten.

Foreword by Phyllis Posnick

Introduction by Taylor Antrim

PUBLISHED BY ABRAMS
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 September 2018

BEST IN SHOW
MODEL HOYEON JUNG (LEFT) IN A MICHAEL KORS COLLECTION COAT AND BOTTEGA VENETA DRESS, AND MODEL FEI FEI SUN
IN A GIVENCHY COAT AND BOTTEGA VENETA DRESS. PHOTOGRAPHED BY DANIEL JACKSON.

194 232 268 Vogue collaboration, to your local vintage to the roped-off
Contributor Masthead Health an excerpt from store, fashion this runways. Here, a
Skater, Instagrammer, When a long-standing Bill Cunningham’s season is where street-style map of
politically engaged 254 headache sent her posthumous memoir, you find it the season’s boldest
artist, Vogue-cover Lives to the emergency and an exhibition statements
photographer . . . Will the women- room, Daphne Beal exploring faith 380
meet Tyler Mitchell, only co-working discovered she had and fashion in the Beauty Beyond 499
the 23-year-old club the Wing, and a massive tumor Muslim world Borders New Horizons
who teamed up its plucky brand of in her brain Pinging around This September
with Beyoncé in this neofeminism, 373 the globe at the we’re taking you on
month’s issue translate across 284 Falling into speed of social a whirlwind—and
the Atlantic? Chloe V Life Street Style media, the latest impossibly stylish—
198 Malle follows its An Anna Wintour– From the Rive Gauche beauty looks are no world tour
Editor’s Letter founders to Paris approved Nike-and- to the American West longer confined C O N T I N U E D >1 3 8
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with elegant finishes and an unsparing attention to detail.
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A POINT OF VIEW IS
MEANT TO BE SHARED.
JOIN AND SOUND OFF.

INSIDERS
GREG HARRIS

VOGUEINSIDERS.COM
Contributor

Kid Wonder
Skater, Instagrammer, politically
engaged artist, Vogue-cover
photographer . . . meet Tyler Mitchell,
the 23-year-old who teamed up with
Beyoncé in this month’s issue.

ASK ANY PHOTOGRAPHER TO name the one

thing that ignited their creative fire, and they’ll
likely point you in the direction of their first
camera. A filmmaker by training, Tyler Mitch-
ell—who captured Beyoncé for this month’s
issue—has an entirely different story: His love
of images was sparked on the wheels of his first
skateboard. “Of course there’s the surface-level TYLER MADE
cool and rebel spirit about skateboarding,” says MITCHELL IN A SELF-
Mitchell, “but the thing that makes skaters PORTRAIT FROM 2015.

like artists runs deeper than that: It’s not a

sport that’s built on competition, it’s one that
thrives on community.” With the help of skater
friends in Marietta, the Atlanta suburb where he grew up, Mitchell
saved up to buy his first camera—a Digital SLR Canon—in ninth
grade. Inspired by the dreamy aesthetic of Spike Jonze’s early skate
videos, he set about teaching himself to make his own, with the help
of online tutorials. “I’m definitely a YouTube-generation kid,” says
Mitchell. “I learned how to make movies and how to edit that way. I
quickly formed my point of view.”
On the path becoming a celebrity Vogue photographer, this was
clearly a ramp less traveled. At just 23, Mitchell is among the youngest
photographers to have shot the cover of Vogue; Irving Penn was 26
when his first image appeared on the cover, in 1943; swinging-sixties
documentarian David Bailey was also 23. Rather than apprentice
with an established fashion photographer, as many of his peers do,
Mitchell got his start shooting music videos for the likes of indie
rapper Kevin Abstract when he was still a freshman in film school.
(He landed a spot at NYU’s Tisch School of the Arts thanks to the
short horror flick he made in his parents’ home. “I kept my mom and
dad up all night filming it,” he says, laughing, “and used fishhooks to
make the drawers look like they were moving on their own.”) Instead
of signing with a creative agent, he made a name curating his portfo-
lio on Instagram, posting the photographs he was commissioned to
shoot for such brands as Marc Jacobs, Converse, C O N T R I B U T O R >1 9 6

194 SEPTEMBER 2018 VOGUE.COM

#GucciSylvie gucci.com

and this magazine. Alongside these commercial projects were others
that would eventually find a home on art-gallery walls (Red Hook
Labs, Aperture), including I’m Doing Pretty Hood in My Pink Polo,
his visual exploration of modern black masculinity. “In that series I
wanted to incorporate the things that have been used against black
men,” he says. “You see the dark side of how we’ve been victimized,
but there’s a duality to the images,with their candy-colored walls.”
Mitchell is the first African American photographer to shoot the
cover of Vogue in its 125-year history, a fact that is not lost on him.
“For so long, black people have been considered things,” he adds.
“We’ve been thingified physically, sexually, emotionally. With my work
I’m looking to revitalize and elevate the black body.”
For September Vogue, Mitchell shot Beyoncé just outside London
amid the faded glamour of a dilapidated English country house.
“When she sat down for me there was immediately the kind of comfort
level you’d have with a friend, which was quite unexpected,” he says.
“You’d imagine someone as famous as Beyoncé to be protective of
196 SEPTEMBER 2018 VOGUE.COM
“You’d imagine someone
as famous as Beyoncé to be
protective of her image,
but she was really an open
book—and that’s exactly what
you want as a photographer”
MAKEUP, SIR JOHN FOR MARC JACOBS BEAUTY. SET DESIGN, DAVID WHITE. DETAILS, SEE IN THIS ISSUE.
THE BIG PICTURE
LEFT: BEYONCÉ (IN A WALES BONNER
SUIT AND LORRAINE SCHWARTZ
BRACELETS), PHOTOGRAPHED BY
MITCHELL IN LONDON. ABOVE:
UNTITLED (TOPANGA), 2017.
her image, but she was really an open book—and that’s exactly what
B EYON C É: FASH ION E DITO R: TO NN E G OODMAN. HAIR , N E AL FAR INAH ;
you want as a photographer.
“It’s funny because I’m pretty sure she headlined the first concert
I ever went to, when I was maybe eight or nine, so you could say we
met in a past life.”
The resulting images tread the line between reality and fantasy,
documentary and portraiture, subtly refracting the glossy light that
tends to fall on fashion and celebrity toward a softer, more nuanced
feeling. When asked what genre of photography he claims—fashion,
documentary, art, for example—Mitchell replies without hesitation,
“I’m a concerned photographer.” Social-media savvy, politically
engaged, and totally fearless, Mitchell is part of a new generation of
image-makers reshaping the lens through which we see culture right
now. “There was a ladder for the people who came before me, and
there’s a ladder now—it’s just a new ladder,” says Mitchell. “I want
to open the eyes of the kids younger than me, show them that they
can do this too.”—CHIOMA NNADI
#GucciSylvie gucci.com
 THE CREATIVE CLASS
LEFT: KARL LAGERFELD, PHOTOGRAPHED BY
ANNIE LEIBOVITZ. BELOW: MARINE SERRE
(CENTER) WITH FRIENDS AND COLLABORATORS,
PHOTOGRAPHED BY OLIVIA ARTHUR.

Eyes Wide
Open
SEPTEMBER, FOR US, ALWAYS
starts in March. That’s when we
return home from four weeks of
shows and start planning what has
traditionally always been our biggest
issue of the year. Yet the fall 2018
season didn’t feel like it was business
as usual, just as life these days doesn’t
feel that way either. In all my time
editing Vogue, this period is like no
other I’ve experienced before, and for
good reason: If fashion is radically CHOMPING AT THE BIT
RICCARDO TISCI, BURBERRY’S NEW CHIEF CREATIVE OFFICER,
different, it is because our world is PHOTOGRAPHED IN LONDON BY MIKHAEL SUBOTZKY.
so radically different. As we sat in
meetings after the shows, we spent most of our time talking about so many of us are increasingly looking far and wide for labels to better
how what we wear needs to reflect the times it’s being created for. We enhance our sense of personal style. Sally Singer, our Creative Digital
barely discussed trends—in fact, trend is now pretty much verboten in Director, coined a phrase for it—“fashion without borders”—and
the office because it seems such an outdated way to calibrate fashion. it is the perfect representation of what this September issue is about.
Thanks in part to digital technology and social media, we share a You’ll find, then, a celebration of the designers who prefer to dis-
growing sense of global citizenship and kinship, not to mention how pense with the notion of boundaries altogether. E D I T O R ’ S L E T T E R > 2 1 2

198 SEPTEMBER 2018 VOGUE.COM

Letter from the Editor
C O N T I N U E D F R O M P A G E 1 9 8 Some of them will need no in-
troduction—Karl Lagerfeld, Stella McCartney, Nicolas
Ghesquière—while others you may not know, such as
Marine Serre, Johanna Ortiz, and Gosha Rubchinskiy.
As I read the story that accompanies the portrait of Virgil
Abloh, the young Rockford, Illinois–born creative director
behind the label Off-White who just made a terrific start
with his Louis Vuitton menswear this past June, something
Virgil said seemed emblematic of what we wanted to do.
“It’s like I’m walking down different streets all at the same
time, seeing, smelling, and breathing diversity,” he said,
“and realizing that things you grow up with—race, religion,
gender, or anything else—tend to disappear once you’re
embedded in a global community.”
In the spirit of walking down different streets and
acknowledging that fashion can come from absolutely
everywhere, we dispatched not only legendary photographer
Annie Leibovitz to shoot these designers, but also some of
the photojournalists of Magnum, whose image-makers are
well versed in recording all manner of human experience all
over the world. And to continue that newsy approach, we
have portraits of a couple of designers who are returning
to the fray in the next few weeks, when the spring 2019 col-
lections begin: Hedi Slimane at Céline and Riccardo Tisci
at Burberry. I’m thrilled they’re back. They’re precisely the
kinds of inventive and iconoclastic designers we need these
days, absolutely uninterested in misty-eyed nostalgia for the
way things used to be.
When it came to thinking about who should be on the
cover of this September issue, there was really only ever one
choice: Beyoncé. It’s not just because her fame redefines
what it means to have global presence; it’s the way she uses
that status to challenge herself—and us, too. She consistently
pushes aside notions of what it means to be a universally
renowned musician—choosing, for instance, to release new
songs as and when she likes. (Indeed, that disruptive way IN FULL BLOOM
BEYONCÉ, IN A HEADDRESS BY PHIL JOHN PERRY FOR
of thinking mirrors some of the designers in our portfolio, REBEL REBEL, ERICKSON BEAMON EARRINGS, AND LYNN
who are increasingly opting to abandon seasons in favor BAN NECKLACES. PHOTOGRAPHED BY TYLER MITCHELL.
of continual deliveries of new collections.)
More important, Beyoncé is intent on challenging the status quo, Maya brings it back to the simple fact that we should be working with
drawing our attention to society’s imbalances and injustices—some- young women of voting age and not those who are barely older than
thing that many of our current politicians seem intent on maintain- children. I have no hesitation in saying that we ourselves are partly in
ing (or, worse, taking us backward). As Beyoncé herself writes in error here—we have, in the past, worked with girls under eighteen,
her powerful essay, “Until there is a mosaic of perspectives coming but given the terrible allegations of abuse and the disturbing working
from different ethnicities behind the lens, we will continue to have a conditions for many young models, we felt that enough was enough,
narrow approach and view of what the world actually looks like. That and that we needed to take a stand. Our position has been endorsed
is why I wanted to work with this brilliant 23-year-old photographer by some of the leading model agencies here in the United States as
Tyler Mitchell.” She goes on to write that Tyler is the first African well as the CFDA, and we’re very grateful for their support on such
American photographer to shoot a Vogue cover, and indeed he is; an important initiative. To effect meaningful change these days, it’s
he’s also, incidentally, one of the youngest. I’d like to thank Tyler for crucial to work together.
doing such a stunning job. His shoot was an important moment for
us—after all, if we’re going to record a changed world, we should
reflect that world.
Lastly, I hope you will all read the story on the global push to raise
the working age of a model to eighteen. Writer Maya Singer has crafted
an authoritative and convincing argument for why it needs to happen,
and while the threads of it are incredibly complex and global in scale,

212 SEPTEMBER 2018 VOGUE.COM

PRADA.COM
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AROUND
THAT
TIME

HORST AT HOME IN VOGUE

FOREWORD BY HAMISH BOWLES

Iconic interior photographs and portraits,

a virtual Who’s Who of society, politics, and arts
in the mid–20th century.
With photographs by Horst P. Horst and essays by
Valentine Lawford, Around That Time revisits
the legendary Vogue’s Book of Houses, Gardens, People
(1968) and includes additional homes Horst
shot well into the 1980s.

PUBLISHED BY ABRAMS

Available online and wherever books are sold.

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AMAZONE BAG. READY-TO-WEAR BY LONGCHAMP.
LONGCHAMP.COM
 Backstage
Beauty
Reimagined
with Maybelline New York
The Fall/Winter ’18 runway pulled inspiration from
across the globe, as well as the decades. The most
prevailing constant: strong women. Through the lens
of female empowerment, beauty inspirations came
by way of deconstructed glamour, eighties R&B,
and the smooth texture of a suede glove. Here,
Maybelline New York’s top makeup artists forge
a new mood with beauty interpretations that go from
runway to the real world, and are as fresh as ever.
 CUSHNIE ET OCHS:
CARLY OCHS
Cushnie et Ochs’ Fall/Winter ’18
show—which happened to be their
ten-year anniversary show—was a
stunning display of their signature
architectural aesthetic, inspired by
Zaha Hadid, with cool cutouts,
column silhouettes, and, amid their
signature neutrals, lush cameos
by hot-pink satin, air-light feathers,
and sumptuous fur and velvet.
Makeup artist for Maybelline New
York James Kaliardos drew from
their powerhouse sensibility and
took inspiration from eighties-era
Sade, an independent woman
with her own fierce style.

“This woman is radiantly confident in her own skin;

she’s poised, sophisticated, and celebrates her femininity.
Her beauty is fresh-faced, yet bold and glamorous.”
—CARLY OCHS
“We wanted
to communicate
female strength
and power with
a delicate feeling.”
–JAMES KALIARDOS,
MAKEUP ARTIST FOR
MAYBELLINE NEW YORK

GET THE LOOK:

BROWS & LIP
1. Extend the length of the brow toward
the temple and fill in any gaps with
Total Temptation™ Eyebrow Definer
Pencil. Use TattooStudio™ Waterproof
Eyebrow Gel to blend the pigment,
brush up brow hairs, and comb through
the arches with a spoolie.
2. Use the gold powder side of Lip
Studio® Python Metallic Lip Kit in
Snakebite on the inner eyes and dot
in the eyelid center before blending.
Curl lashes and apply Total Temptation™
Washable Mascara in Blackest Black.
3. Fill in the entire mouth with Color
Sensational® Lip Liner in Rich Wine.
Apply SuperStay Matte Ink™ Liquid
Lipstick in Voyager. For more depth
and dimension, add a layer of the red
lip color from the Lip Studio® Python
Metallic Lip Kit in Passionate; add the
garnet-colored shadow in the center
for a plumper-looking pout.

SWITCH IT UP: Dying to add a little

something to the look? James says,
“For a more dramatic look, line the
outer corner of the eyes.”
BROCK COLLECTION F/W ’18: GLOBAL ROMANCE
“I got the idea of a matte, suede eye from one
of the gloves in the collection; it inspired the look,
which was made soft with blended shadow,
but toughened up with liner.”
— GUCCI WESTMAN, MAKEUP ARTIST
FOR MAYBELLINE NEW YORK
 BROCK COLLECTION:
KRISTOPHER BROCK
AND LAURA VASSAR
Brock Collection leads with
romance, always. While their
signature femininity was alive
and well on the runway, the
couple explains that this time
they examined more refined
ideas of romance and drew
insight from their favorite old
films. “We wanted to explore
what that means for a woman,
whether she’s in London or
Los Angeles,” says Laura.
With Gucci Westman at the
beauty helm, they created a
look for a woman well versed
in different romances. Or as
Laura put it, “Wherever she
goes, she carries it with her.”

“We needed
a woman to
lean on,
someone to
aspire to.”
—LAURA VASSAR
GET THE LOOK:
EYES & LIP
1. Brush the chocolate-colored
shadow from the Total Temptation™
Eyeshadow + Highlight Palette
across lids and along the lower
lashes. Blend the deepest brown from
The City Mini Eyeshadow Palette in
Downtown Sunrise through the crease
and across the lower lash line. Rim top
and bottom waterlines with Master
Precise Skinny™ Gel Pencil in Sharp
Brown; fill in gaps between the roots
of the lashes. Coat top and bottom
lashes with Total Temptation™
Washable Mascara in Brownish Black.
2. Define brows with Total Temptation™
Eyebrow Definer Pencil and tap the
shimmery shadow from the Lip Studio®
Python Metallic Lip Kit in Provoked
across the center of arches to catch light.
3. Fill in lips with Color Sensational®
Lip Liner in Magnetic Mauve. Press
the chestnut-colored lip color from
the Lip Studio® Python Metallic
Lip Kit in Provoked on top.
SWITCH IT UP: Love the look so much
you want to try it different ways? Gucci
suggests opting for a flushed cheek.
JASON WU FALL ’18: DECONSTRUCTED GLAMOUR
“We wanted a look that was sophisticated,
but with a twist, and captured the
strong feminine mood of the season.”
—THOMAS DE KLUYVER, MAKEUP ARTIST
FOR MAYBELLINE NEW YORK
 JASON WU
Jason Wu drew this season’s
inspiration from the work of Italian
industrial designers Ettore Sottsass
and Michele De Lucchi. “The
architectural influence in their jewelry
pieces is undeniably modern,” says
Jason. It’s no surprise then that
makeup artist Thomas de Kluyver
took fifties couture style, one of
Jason’s greatest influences, and
ran with it to create a colorful
two-tone twist on the classic
cat eye. Thomas explains, “It adds
toughness, but is still very elegant.”

“The deconstructed
cat eye is undeniably
decadent, but felt
completely new.
The primary colors
used to accent the
girls’ eyes gave
major punch to the
runway look.”
—JASON WU
GET THE LOOK:
SKIN & EYES
1. Create a seamless, glowing base
with Dream Lumi® Touch Highlighting
Concealer to erase any redness or dark
circles. Apply a subtle veil of Facestudio®
Master Chrome™ Metallic Highlighter
in Molten Rose Gold across the tops of
cheekbone.
2. Use Master Precise Skinny™ Gel Pencil
in Defining Black to draw an arch just
above the eye crease, near the inner corners
of the eyes, for a “lifted” effect. Add a
wing to the outer corner of each eye.
3. For added drama and definition,
dip a skinny brush in Lemonade Craze
(yellow) or Ice Pop (pink) from the new
Lemonade Craze Eyeshadow Palette
before outlining the black arc with a bold
swipe of color. For the red hue, use
Lasting Drama® Matte Eyeliner in Rusty
Terracotta and top it with a theatrical
pigment. Apply Total Temptation™
Washable Mascara in Brownish Black
to top lashes.
SWITCH IT UP: Love the look, but want
to tone it down? Thomas says, “Try using
the Master Precise Skinny™ Gel Pencil
to draw a thin line to create an extended
cat eye from the outer corner of the eye;
then use one of the bright Lemonade
Craze eyeshadows to add a pop of color
on the inner corner or eyelid.”
 ANNA WINTOUR
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Lives
Taking Flight
Will the women-only co-working club the Wing, and its plucky brand of neofeminism, translate
across the Atlantic? Chloe Malle follows its founders to Paris. Photographed by Olivia Arthur.
A
udrey Gelman climbs the curling marble staircase
of a stately Haussmann address in a vintage pais-
ley sundress, the clap of her Gucci mules kicking
up a thin layer of dust. It is the longest day of the
year, and she and Lauren Kassan, cofounders of
the women’s social-and-co-working club the Wing,
have been touring Paris real estate since 9:00 a.m. They will visit eleven
locations by the end of the day.
This one is a corner building on the Champs-Élysées with exquisite
marble work in the stairwell and Rococo wall murals in the conference
rooms. The first-floor tenant is Ladurée, the megalith macaronier
whose pastel hues match the Wing’s decor. There was a time when a
box of the meringue cookies was a coveted gift from France; now that
Ladurée is everywhere from Baku to D.C.’s Union Station, they feel
decidedly less special. I ask how the Wing, a phenomenon since the
first club opened in Manhattan’s Flatiron district in October 2016,
can avoid that fate as they gear up to go global.
“It’s a delicate balance,” concedes Kassan, a her way or the highway
T-shirt peeking out under her jean jacket.
“I mean, we are ambitious,” says Gelman unapologetically. “The
254 SEPTEMBER 2018 VOGUE.COM
goal is to create spaces that women have never had before and to do it
all over the world. From Detroit to Abu Dhabi.”
She slips her cat-eye sunglasses back on as we emerge into the throng
of tourists on the boulevard. How many Wings will there be by the end
of this year? Gelman tallies outposts on her fingers, her nails painted a
bright-yellow gingham: Flatiron, SoHo, Dumbo, D.C., San Francisco,
PRO DUCE D BY LE NN ART SC HL AGE TE R FO R BRACH FE LD PARIS.
and Los Angeles. In 2019, they will more than double that number,
PH OTO GRAP HE D BY OL IVIA ARTHU R OF MAGN UM PH OTOS,
with openings planned in Williamsburg (Brooklyn), Chicago, Seattle,
Boston, Toronto, London, and here in Paris.
“The bones are beautiful,” says Kassan of the building we’ve just
seen, “but I just think the location is too hectic.” And with that we are
off to the next, a newly renovated site near the Parc Monceau, where
the drop ceiling cannot be opened. “No?” Kassan asks the French
broker. “Ashvack,” he replies mournfully. Kassan looks confused,
then understands: “HVAC.”
It’s a bit of a Goldilocks exercise—one space has a L I V E S > 2 5 8
AIR FRANCE
WING COFOUNDERS LAUREN KASSAN (LEFT, IN CHLOÉ) AND AUDREY GELMAN (IN
SARA BATTAGLIA) IN THE JARDIN DU LUXEMBOURG. HAIR, CYRIL LALOUE; MAKEUP,
RICHARD SOLDÉ. FASHION EDITOR: MICHAEL PHILOUZE. DETAILS, SEE IN THIS ISSUE.
Lives Gender Studies
trellised terrace but is deemed too sleepy a location; another is well
situated but lacking in charm. “You have to kiss a lot of frogs,” says
Gelman as we glide past the Arc de Triomphe. “You definitely get an
‘aha’ moment, and you know in two minutes.” That “aha” moment
does arrive, in fact, in the form of a seventeenth-century limestone
hôtel particulier in the heart of the Marais. The ground floor will be
retail space, but the two stories above, with exposed wood beams and
original ironwork railings overlooking an ivy-clad courtyard, will be
12,000 square feet of Wing world. The building was once the home
of Louis XIV’s famed mistress Madame de Montespan, who, legend
says, forbade all men except servants to enter the premises. Too good
to be true? This keeps happening—the Flatiron Wing is located in the
historic Ladies’ Mile, and the London location will be next door to
what was once Britain’s first women’s club. “My dream is to one day
open in a former strip club,” says Gelman.
“It feels like they can’t open them fast enough,” says ex–Planned
Parenthood president and tote-carrying Wing member Cecile Rich-
ards. Indeed, the Wing’s wait list has always rivaled its membership
(the current member tally of 5,000 will likely double by the end of the
year). I was an early joiner and have to admit I felt soothed the minute
I settled in. Was it the thermostat fixed to 74 degrees, significantly
warmer than most public spaces set to suit men, or the relief of inter-
acting only with other women? “It becomes subconscious because we
adapt to it even as young girls,” says Gelman of the pressure of the
male gaze. “To get to leave that at the door is such a freeing feeling.”
Everything inside is designed to buoy one’s mood: The library (all
books by or about women) is arranged into a rainbow by spine color,
the plants are always green (they’re plastic), the Spotify playlists are
peppy and familiar, and the language of the place is injected with
moxie—stickers in the bathroom stalls remind members to flush it
like you mean it, a freekeh–and–poached egg dish is the “Fork the
Patriarchy Bowl,” and a cucumber-kombucha mocktail is “Reclaiming
My Thyme” (another is the “Virgin Woolf”).
Kassan and Gelman understood early that in our current gig
economy, a co-working space is more than a desk and free coffee—it
defines you in the way a choice of gym might have in the nineties. Gel-
man’s original idea, hatched while working for the political PR firm
SKDKnickerbocker, was a practical-minded
third space for women between work &
werk—as the broadsheet posters tacked to “We are ambitious,” says
the wall in the Flatiron location proclaim— Gelman unapologetically. “The
but when she met Kassan, then at the fitness
app ClassPass, a grander idea of a women’s goal is to create spaces that
community emerged. “Lauren’s take was, women have never had before.
Yes, a shower’s great, but that wasn’t why
women would join a place like this,” explains From Detroit to Abu Dhabi”
Gelman. And the Wing has become more
and more far-reaching in its mission. Its networking events are packed,
and its speaker series has featured everyone from Jennifer Lawrence to
Hillary Clinton to Alexandria Ocasio-Cortez. All in all it has raised $42
million in funding—its latest round mostly from the co-working giant
WeWork. Some have snarked that there is an irony in a feminist space
that excludes men but is built largely on male venture-capital funds.
Gelman is unfazed: “All money is touched by men one way or another.”
It is almost 9:00 p.m. in Paris, but the summer solstice means it feels
like late afternoon. We sit down to dinner at the ancient bistro Chez
L’Ami Louis. Gelman drinks Coca-Cola Light while Kassan sips
Sancerre. Both are petite, with long, coffee-colored hair; they wear
258 SEPTEMBER 2018 VOGUE.COM
matching gold Jennifer Fisher W necklaces (“They’re like our Vice
ring,” jokes Gelman). They share two entrées, lamb and poulet rôti,
followed by a flourless chocolate torte. “I’d be bullshitting if I said I
wasn’t exhausted,” Gelman admits when asked how they have handled
the brand’s rapid growth. To decompress she searches cats on Insta-
gram (she has three Persians) and shops on TheRealReal. Perusing
StreetEasy relaxes Kassan. “I’m a psycho; I read everything,” says
Gelman of her media diet.
“Audrey learns about things the minute they happen on Twitter;
it’s amazing!” says Kassan.
“You sound like my grandmother,” teases Gelman, plucking up
a runaway fraise des bois from the linen tablecloth and popping it
in her mouth.
W
hile Gelman is the face and voice of the
brand, it quickly becomes clear that the
Wing would not exist without the thought-
ful, detail-oriented Kassan, whose natural
inclination is to remain behind the scenes, a
perfect foil to her partner. Gelman emerged
in her early 20s as that rare Venn-diagram overlap of a “real woman
with a serious job”—she worked as press secretary to Scott Stringer
and on Hillary Clinton’s 2008 presidential campaign—who was also
beautiful, stylish, and sample-size and so was pounced upon by every
women’s magazine. Her love life (in 2016 she married Genius cofounder
Ilan Zechory in a hipster fantasia in a former Ford factory in Detroit)
and fraught friendship with Lena Dunham (she was the inspiration for
the character Marnie on Girls) have been reported on and followed by
a certain sector of New York cognoscenti with the same relish the rest
of the country dedicates to the Real Housewives.
To some, Gelman’s many facets present a bewildering contradiction:
Two weeks after watching the Golden Globes in a time’s up T-shirt
with a group of fellow women’s-rights activists, she sat front row at
Chanel couture, her many tattoos peeking out from her metallic mini.
“You can exist as a person of substance in the world and enjoy those
things,” she says. She’s right, of course, but she is also a victim of the
tendency among some women to be harshest on their own sex. “Audrey’s
a go-getter, and if you’re a go-getter you’re
bound to ruffle some feathers,” says Wing
founding member Tina Brown. “Plenty
of men are go-getters, but people tend to
express great consternation when that’s
allied to an attractive young woman who’s
got the same kind of business brio.”
Then there are the questions around the
way the club markets its quippy brand of
Instagrammable feminism: Wing merch
currently includes a pale-pink internet herstory baseball cap and
a no-man-icure and sharpen your claws emery-board set. “I think
a lot of women have been skeptical of the Wing, like ‘What is this
millennial-pink feminism actually going to do for us?’ ” says actress
Hari Nef, also a founding member. “But if you look closely at who
is showing up, it puts those anxieties to rest.” She means people like
Valerie Jarrett and the feminist writer Jessica Valenti, who speaks to me
from the Wing Dumbo. “I feel like feminism is the only social-justice
movement where the aesthetic of it comes into question,” she says.
“Can you imagine someone in the environmental movement being
like ‘This is too green’?” L I V E S >2 6 2
T H E F E A T H E R S B R A
NATORI.COM
Lives Gender Studies
Rebecca Traister, author of the forthcoming Good and Mad: The
Revolutionary Power of Women’s Anger, is ambivalent about a com-
pany’s profiting from a social-justice movement but notes the political
importance of the Wing’s kind of accessible feminism. (She is the proud
owner of one of the club’s best-selling Andrea Dworkin pins.) “Are
they laughing all the way to the bank? Sure,” she says. “Did Al Gore?
Did Michael Moore? Whom do we hold to account for profiting from
probably fundamentally good politics?”
“If we can accept that the Wing is what it is, which is one business
among many, and one that happens to sell women something that they
really want, then that’s great,” says feminist blogger and bellwether Sady
Doyle, who says she would love to
work out of the Wing but balked
at the membership fees ($2,350–
$2,700 a year). “It’s when we start
placing the burden on what is es-
sentially a profit-driven business
to represent what feminism is in
the twenty-first century that we
start running into trouble.”
Indeed, the Wing’s price tag
limits the club’s economic diver-
sity. Most co-working spaces cost
the same or more, but this one’s
feminist mission can add new ex-
pectations of inclusivity. In May,
the Wing introduced a scholarship
program offering 100 free two-year
memberships as well as profes-
sional mentoring. It has received IN THE MOOD
over 10,000 applications so far. PASTEL HUES PREVAIL AT THE WING IN DUMBO, BROOKLYN,
“Historically women of color WHICH OPENED IN EARLY 2018.
and the LGBTQ community have
been left out of the feminist movement,” says Atima Lui, a member
who was brought on as a diversity consultant, “and the Wing is in-
tentional about making sure people like me—and people who don’t
look like me—feel comfortable here.” Diversity has been a priority
and is addressed in Wing programming and staff resources—there
is a full-time diversity manager and community managers who track
the demographics of each space. The beauty rooms are stocked with
hair products for different hair textures, and the wallpaper depicting
trios of naked nymphs in the SoHo “pump room” was customized to
include women with different skin tones.
M
en, however, are not welcome, and this has proved
more controversial than perhaps anyone antici-
pated. In March, Jezebel reported that the New
York Human Rights Commission was investi-
gating the Wing for potential violation of the
city’s Human Rights Law barring certain public
businesses from gender-based discrimination. Almost immediately,
everyone from Roxane Gay to Monica Lewinsky tweeted her fealty
with the hashtag #IStandWithTheWing. Mayors of other cities came
out with public statements of support, including Rahm Emanuel,
who went so far as to send a letter inviting them to open in Chicago
(winter 2019). When asked for an update, a spokesperson from the
commission would say only that it “continues its investigation into
the Wing.” According to Gelman, “they sent us a letter—on the first
262 SEPTEMBER 2018 VOGUE.COM
day of Women’s History Month—wanting to learn more about the
business. It’s not like the Mueller investigation. They’ve backed off.”
Others have not. “I think in 2018 for a company to have a business
model that is discriminatory, even if seems in a benign sort of way, feels
very untimely,” says Katherine Franke, Sulzbacher Professor of Law,
Gender, and Sexuality Studies at Columbia University and author of
a petition advocating for the commission’s enforcement of the Sex Dis-
crimination Law (it was signed by a dozen lawyers and gender-studies
and law professors). There’s also the evolving question of who qualifies
as a woman. “We have just tried to lean into having the most broad
definition possible,” Gelman says, noting that membership is not
restricted only to people who are
born female or identify as female
but also includes those outside the
gender binary.
Global expansion will present
its own set of challenges. In Paris,
Hélène Bidard, Mayor Anne Hidal-
go’s deputy for women’s equality,
feels “quite certain there will be
a place for this kind of business,”
noting that there have already been
others of its kind popping up on a
smaller scale. But Lauren Bastide,
a feminist journalist and podcast
producer, wonders if the French
tradition of prioritizing universalist
versus communitarian values may
provoke pushback to a club that is
self-segregating. For example, last
summer Mayor Hidalgo blocked
the Afro-feminist group MWASI
from hosting workshops exclusively
for black women. “Communautarisme in France is a very bad word,”
explains Bastide. “It sounds like you want to destroy the republic to
say you’re doing something with your community.”
“We’re not advocating for a world in which genders cease to interact
with each other,” says Gelman, slouched but alert in the backseat of a
taxi on the way to Charles de Gaulle. She’s removed the makeup from
a Vogue photo shoot earlier in the day and has changed into an eyelet
Ulla Johnson dress for the flight home. But she admits that “one day
the Wing could look different.” Other female co-working spaces (of
which there are a few—California’s Hera Hub, Toronto’s Shecosystem)
accept men on a selective basis, and Gelman concedes such a thing
“could be a reality in the future. I think our attitude has been to keep
an open mind.”
As we sit at the gate waiting for our flight home, Kassan stares at her
phone maternally. I ask if she’s looking at photos of her five-month-
old, Quincy, but she is in fact checking Luma camera monitors at the
Wing. Gelman eagerly logs in to hers as well. “I check at least once
a day,” admits Kassan. They toggle between the different areas of
the four locations, and coos of “Oh, SoHo’s not that crowded!” and
“Dumbo’s so pretty” erupt from our corner of the waiting area. It is
the end of a weeklong trip that included a three-day vacation with
TORY W ILLIAMS
their husbands in Portofino on the way to the Cannes Lions festival,
where Gelman was a speaker. It is the first time they have both been
away from the Wing. “I miss it,” says Gelman wistfully, watching the
screen as if it were a baby monitor. 
 # E S C A D AO F F I C I A L

E S C A D A . COM
PHOTOGRAPHED BY INEZ AND VINOODH
VERAWANG.COM
Health
Daphne and the Giant Peach
When a long-standing headache sent her to the emergency
room, Daphne Beal discovered she had a massive tumor in her brain.
W
e have to talk,” the doctor in my local
Brooklyn E.R. says, pulling up a chair up
next to my bed. He’s holding CAT scans,
presumably mine, slightly fanned like a
messy hand of cards. I know as well as
anyone that the phrase he’s just uttered is
never followed by good news, but my thoughts skip around looking
for options while my mouth says, “OK.”
“There is a large mass growing in your brain,” he says. His expres-
sion is pained as he points to a sizable black blob at the upper right of
one scan. “I’m 80 percent sure it’s something called a meningioma,
which occurs in the outer layer of the brain, the meninges, and is
268 SEPTEMBER 2018 VOGUE.COM
benign. If it is that, it’s the best kind of brain tumor to have.” You
LIV ING ART E N TERPR ISES, LLC/SCIE N C E SOU RC E.
really just said that? I think. “But it’s gotten so large it’s making your
brain swell, which is why you have this headache.” The one I’ve had
for a few days that woke me up sobbing at 3:00 a.m.
“I want to schedule an MRI to see it more clearly, and we’re going
to add steroids to your drip, which should help with the pain.” This
last part is very exciting because the morphine has only rounded out
the sharpest edges of it.
“That sounds good,” I almost chirp. I have no points H E A LT H > 2 7 6
SLEEPING WITH THE ENEMY
AN IMAGE OF AN ENHANCED LARGE MENINGIOMA ON AN MRI. SUCH TUMORS,
AS WAS LIKELY IN THE AUTHOR’S CASE, MAY GROW FOR DECADES UNDETECTED.
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Health In My Head
of reference for this. Can a mask of pleasant practicality offset the
roiling inside?
My good friend Marie-Helene, who brought me here early this
morning, offers to go get us iced coffees while I call my closest confi-
dante, who is on vacation in Maine. When I hear her voice I collapse,
mewling, “Kaaaatie.” “OK, OK,” she says firmly, gently, but when
she hears meningioma she reminds me that her friend Chelsea had one
in her 20s that she fully recovered from. She also says she’ll fly down
for the surgery. I want to say, “Don’t trouble yourself,” but I can’t.
Handing me a paper bag with my coffee, Marie-Helene says, “I got
you a cardamom bun. I figured since you won’t be going to India.”
I hadn’t registered that fact. Two weeks
from today, I have tickets to fly with
my two children to Cochin, where I The left side of my body occasionally
will introduce them to a place I have
loved my entire adult life.
seemed to go off-line—so that
The trip was important for many I had to instruct my left foot to take a
reasons, but at its heart because it
meant I was free from the separation
step after my right one
and divorce that had wrapped its ten-
tacles around me for five years. Love and commitment didn’t unravel
so much as detonate. Then, after we filed our divorce agreement
eight months earlier, I got two dream magazine assignments, one in
India and the other in Uzbekistan. Suddenly absence and loss were
replaced by freedom and possibility. Returning to India meant I was
fine—even possibly wiser and stronger for what had come down the
pike. Except now there is this.
A
fter the MRI, the consulting neurosurgeon tells
me that he is 98 percent sure the giant mass is a
meningioma. Though slow-growing and benign,
it must come out soon. Benign is not the same as
benevolent. I’ll have to stay overnight and get a sec-
ond CAT scan to make sure there are no “matching
tumors” in my ovaries. I’ll skip those, I think.
The next morning, with my mom at my side, I am set to go meet a
neurosurgeon in Manhattan who’s come highly recommended. On
the phone he introduced himself simply by his first and last name,
no “Dr.” preceding it, which I liked immediately for its assumption
of an equal footing between us. In his waiting area, Chelsea—of
the onetime meningioma—stands tall, smiling, with her bike helmet
in hand. See? She’s fine. “Hi, head case,” she says, giving me a hug.
She’s offered to take notes, which is good because my mom and I
are frayed.
A computer screen in the surgeon’s office shows an MRI of my
head with a vivid gray mass in it. My son will later liken it to the
peach emoji, though Marie-Helene and I have dubbed it the “toxic
mango,” as we try to make sense of its size and the fact that it has
replaced my trip to India.
The awaited surgeon bounds in. With an easy smile and strong
handshake, he is someone I might have known in college. He asks
me about myself, my family, my symptoms. I’ve been relatively well,
I say, traveling for work to India and Uzbekistan——
“Uzbekistan?! What were you doing there?”
“I was reporting an article and doing a surprising amount of
dancing,” I say, happy not to be discussing the hijacker in my head.
He laughs. I tell him it was hard for me to handwrite notes there—
I thought it was the heat—that I’ve been unsteady going down subway
276 SEPTEMBER 2018 VOGUE.COM
stairs for a year or so and generally exhausted, which I assumed was
a by-product of my divorce. He nods sympathetically.
He says the tumor is remarkably big—9 x 8 x 7 cm. This feature
rather than its placement is what makes it a danger. The skull is a finite
space. In a relatively good region—the posterior right parietal lobe,
or “the silent brain,” as my surgeon calls it—it crosses over the top
into the left hemisphere and may have affected my tactile and visual
sense, as well as my understanding of space. Because the tumor has
been growing for decades, the brain has mostly been able to adapt.
“Will we ever know how old it is?” I ask.
He looks at me thoughtfully. “Somewhere under the age of 47.” I
think of the headaches I’ve had since
I was twelve and the awful ones during
both pregnancies (hormones are
thought to feed meningiomas, which
are twice as common in women as men
and can often be misdiagnosed). To
explain them, I decided I was someone
overly prone to stress, but what if the
headaches were not from a maladapted
coping mechanism but the cause of it? Though far from the frontal
lobe (language, memory, cognition, emotion), the tumor had stealthily
taken over a third of my brain’s rightful space. How had it changed
me over the decades?
Surgery will happen in six days, with steroids to manage the brain
swelling in the interim. The surgeon—now my surgeon—asks me to
bring in my children before then so he can reassure them “that their
mother has another 52 good years ahead of her.” I am touched that
he has thought of them and that he thinks I’ll live to see 100.
When I walk into my ex’s house, my thirteen-year-old son says,
“Look what I got for India!”—a hard case for his camera. I tell him
why we can’t go, in the mildest possible terms. “I can’t believe it,”
he says, eyes tearing up, and hugs me. My ten-year-old daughter is
outside playing with a friend. I call her in and blurt the news because
I know it will be awful.
“You’re joking!” she says.
“No, I’m so sorry.” She bursts into tears and runs out of the house
to the back. I follow her, but it’s clear it has to be processed in a stormy
way. My ex is genuinely concerned, and I am polite.
That weekend, nausea is my near-constant companion, and ginger
its only foil, candied, in cookies and gum all day long. We barbecue
with my brother’s family, but I am in a state of disbelief. What else
don’t I know about myself ?
Monday morning, my son skips camp and my daughter throws up
before attaching a rainbow unicorn horn to her head to go meet
my surgeon. (She will wear it constantly for the next week; he asks
her whether she might need surgery to remove it.) The children sit
collapsed against me while my son asks about the size and nature
of the tumor. My daughter asks who will cast my internet vote the
day of the surgery for the landscaping competition Marie-Helene’s
company is in. For one child, head-on questions and worry; for the
other, magical thinking and aversion. I can relate to both.
As we leave, my surgeon pats me on the shoulder, as if he alone
notices that I have completely wilted. A stranger four days ago, he is
now at the center of my existence.
When we get home I crawl into bed, upset, and call my ex. Not my
usual inclination, but I tell him our kids need him. He H E A LT H > 2 8 0
Health In My Head
says of course he’ll take them before surgery, keep them, and bring
them to see me. This is the first time he has made me feel better about
anything in about a decade. Then he says, “I can only imagine how
weird this week has been for you. It’s been weird for me. I thought,
I don’t want to raise these children alone.” Filter, dude! You need a
filter, my onetime love. I understand that he thought it, and I know
his speaking it comes from a sense of residual closeness. We’ve
always been honest with each other, and we shared so much. And
yet he could have waited.
W
hen Katie arrives the day before surgery,
we lie on my bed and talk about my fear of
dying. On the surface unfazed, she says it’s
part of the process. We know the odds are
very good: only a 1 to 2 percent chance of
things going wrong—stroke, seizure, hem-
orrhage, problems with anesthesia. However, the tumor, in crossing
the brain’s midline, abuts and has possibly invaded a major blood
supply. Even if that’s not an issue, the thought of having my head cut
open and the site of my very self exposed to the open air and other
people is unnerving.
That evening in the garden, among
the purple blooms of the butterfly
bushes with my family and my closest
friend, I am content. If this is the last
night, it is a good one. Just before bed,
I catch myself in the mirror and am
surprised to find myself beautiful. This
doesn’t look like a body that’s about
to die, I think. But death doesn’t care
a whit, does it?
In pre-op, I hold my surgeon’s hand
too tightly. “What I want to tell you
is,” I say, fresh from my insomniac
hours, “I have people to love, children
to raise, books to write, and I really
want to swim the Croatian islands next
summer.” How many versions has he
heard of this plea? More subdued than
before, he tells me everything will be
all right. BRAIN TRUST
I turn to Katie and Marie-Helene: THE AUTHOR IN NORTHERN WISCONSIN, PHOTOGRAPHED
THE YEAR AFTER HER SURGERY.
“First of all, if I die give all my organs,
everything away.” Dead but useful;
good. “Also, whatever you do, don’t scatter my ashes in Marfa”—the
West Texas town I have been a part of for 20 years that has become
disconcertingly hip—“and please stay in my children’s lives.” I don’t
want my ex raising them alone either. “Katie, if you can do something
with my writing, OK. If not, that’s fine, too.” So fast and breathlessly,
my whole life encapsulated.
As the anesthesiologist guides my bed away, he says, “You know
where I wanted to go this summer? Split. Apparently it’s so beautiful that
you stop for a morning coffee and stay three hours looking at the sea.”
Eight hours later, I hear the voices of my parents and two friends
saying, “Hello, Daphne?”
I’m lying flat, my head aches, but I am so excited to be alive. Asked
who the president is, I answer, “Trump, and I don’t want to talk about
it,” satisfied that I know this much. But even with morphine, it feels
280 SEPTEMBER 2018 VOGUE.COM
like screws are being tightened at the base of my skull. When my
surgeon arrives, he folds the bandage over, an easy fix. The tumor
was completely removed, he tells me. I am free.
My parents are quieter than my giddy friends, and when my children
arrive they are scared. I kiss each of their hands. “Don’t cry. I’m fine.
I promise,” I say, and Marie-Helene delivers them back to their father.
An MRI in the morning shows the open space where the yellow-tan
mass was. The squashed part of my brain might unfurl partially or
fully. It depends on how long and how hard it’s been compacted.
Neuroplasticity is now a word I find beautiful. When the surgical
dressing comes off, my hair is still a fluffy, wavy bob, with just a long,
thin C-shaped track marking the hatch. I can feel it but can’t bear to
touch it. My friends and I joke about how if only there were hinges I
could store things of value inside, maybe become a drug mule. When
my children visit, they crawl into bed with me and eat cupcakes.
My parents whisk the children away to Milwaukee while I recover,
and my close friends gather round. During the days, visitors drop by
my sunny kitchen, bringing flowers, food, and news of the outside
world. I drink in their company as ravenously as I eat their treats.
Everything seems charmed, even in my
utter weakness. Then, each afternoon,
I sleep as deeply as an infant does. The
synapses must realign. Spread out,
brain. Spread.
If the days are celebratory, the
nights are when I do my reckoning. At
two or three, I wake up alert and alone.
Before the operation, I avoided the
internet. Now I can’t turn away. I read
a Times article about meningiomas,
straightforward until the Comments
section, where angry readers write that
they have never fully recovered. Peo-
ple contend with seizures, numbness,
cognitive issues, migraines, dizziness,
regrowth, and more surgery. Shaken,
I quit out. I listen to a memoir by a
British neurosurgeon called Do No
Harm. I am riveted until I can’t bear it.
Six months later, after what seems
like a longer recovery than I had an-
ticipated, I am feeling mostly well
again. The left side of my body does
occasionally seem to go off-line—so that I have to instruct my left
foot to now take a step after my right one. At the same time, some-
one who I know to be three feet from me seems to be at the end of
a long corridor. Initially unsettling, these intermittent symptoms
gradually fade away.
Clearly, the line between lucky and unlucky is very, very thin: the
fact that at the outset I was still in New York; that I presented with a
headache, not a grand mal seizure; that my tumor was a meningioma,
COU RTESY OF TH E AUTH OR
not a glioblastoma, the kind that Beau Biden died of in 2015, born
the same year I was. The events seem arbitrary, and yet I can’t help
looking for meaning. I wait for some cosmic compensation. A minor
superpower, please. But of course, the reward is ordinary life, and there
is so much left to figure out—the stories I want to tell, the person I
want to be, and in the meantime, what to make the kids for dinner. 
VL I F E
Fashion
Culture
Beauty
FAS H I O N

Get Your
Kicks
Vogue and Nike team up for
a new Air Jordan.

PRO DUC E D BY TRAVIS KIEWE L AT TH AT ONE PRODUCTION.

STILL L IFE : TIM HOU T. DETAILS, S EE IN THIS ISSUE .
THE MOST POWERFUL FOUR LETTERS in our offices? AWOK. (Pro-
nunciation: aay-wok. Definition: Anna Wintour’s felt-tipped scribble
denoting her OK for a story. Antonym: the dreaded “See me.”) It makes
perfect sense, then, that when Nike’s Jordan Brand asked Vogue to
collaborate on a line of Air Jordans (four different styles will be rolling
out through the summer and fall), our Editor in Chief gave the project
her trademark sign-off—though this one is slightly more permanent
than ink. With tweedy, metallic-flecked outers and glossy patent leath-
er–like heel tabs, the sneakers travel just as well across the basketball
floor as they do a red carpet. Kick up your feet, and there you’ll find
it printed on the soles: Vogue’s stamp of approval.—LILAH RAMZI

284 SEPTEMBER 2018 VOGUE.COM

E F F YJ E W E L R Y. C O M F I N E J E W E L R Y E S T. 1 9 7 9
 VL IFE

DESIGN

Glass Act
Though American by birth,
J. J. Martin has fully embraced
CATE
la dolce vita. Martin’s love affair BLANCHETT
with everything Italian began IN REPOSSI.
when she was an editor at
Wallpaper* and now extends
to her fashion-and-home FLASH
line, La DoubleJ, which she
meticulously sources from
her adoptive country’s most
storied artisans. Her beloved
dresses are crowded with
Green
graphic prints sourced from
Lake Como’s silk factory
Mantero; her tableware, with its
dizzying alternating patterns,
Party
is crafted with Veronese Climbing up lobes,
porcelain-makers Ancap.

D ES I G N : COU RT ESY O F L A D OU B L E J. B L A N C H E T T: K A RWA I TA N G/G E T T Y I M AG ES. A M B ROS I O : M I K E M A RS L A N D/G E T T Y I M AG ES.

For her turn to glassware,
grazing shoulders,
Martin looked to—where or dancing on

CAMPB EL L: LOIC V E NANC E /AF P/GE TTY IMAGES. B EC K HAM: DAV ID M. B E NETT/G ETTY IMAGES FOR BV LGARI AND E JAF.
else?—Murano, mining
the Venetian island’s glass
décolletage—
museum for inspiration. ALESSANDRA
AMBROSIO
entrancing emeralds
There she stumbled
upon centuries-old tipetti,
IN DE GRISOGONO.
are the most sparkling
extravagant, flecked-gold way to run the jewels.
goblets with twisting stems,
hand-blown handles, and
delicately turned-out lips.
“I took one look and thought, NAOMI CAMPBELL
IN DE GRISOGONO.
We have to remake these;
they are so spectacular,”
Martin said from her home
in Milan. And so began
an exhaustive search for an
artisan capable of re-creating
the intricate handiwork, which
led her to, as she puts it, “the
one guy in all of Italy that could
do it.” The six resulting glasses
are seventeenth-century
replicas—more art pieces than
drinking glasses. “Although,”
she says, “you never know.
Someone just ordered 25!”
—LILAH RAMZI

VICTORIA BECKHAM
IN JACOB & CO.
288 SEPTEMBER 2018 VOGUE.COM
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VL IFE

BOOKS

Inside Jobs
The story of Steve Jobs has been
told many times. In a candid
new memoir, his daughter presents
it from her perspective.

THERE ARE CELEBRITIES WITH command

over our collective imagination, and then there is
Steve Jobs. Seven years after his death, his legacy
is probably in your pocket.
With her artful memoir, Small Fry (Grove),
his daughter, Lisa Brennan-Jobs, has written a
book that upends expectations, delivering a mas-
terly Silicon Valley gothic. A familiar figure to
anyone who saw the 2015 Danny Boyle–directed,
Aaron Sorkin–drafted biopic, Lisa was the neglect-
ed child hovering on the fringes of Jobs’s ascent.
Having denied his paternity for the first three years of
her life, he finally acknowledged his role after a court-
mandated DNA test. Even after the Apple cofounder
conceded he was Lisa’s father, he was reluctant to parent.
Here is a chronicle of the spurned daughter who eventually
moves into a half-furnished, underheated Palo Alto mansion
and duels not with ghosts but with her spookily withholding
father. Brennan-Jobs’s intimate depiction of his capacity for
cruelty is no less astonishing than her rendering of the scrappy iDAD
underbelly of computer country. The bohemian landscape she LISA AND HER FATHER

STILL LIF E: TIM H OU T. IN SE T: COU RTESY OF LISA B REN N AN-JO BS.

captures will be virtually unrecognizable to anyone who equates
this slice of Northern California with Teslas and tiger moms.
Lisa’s mother, Chrisann Brennan, met Jobs when they were in
high school. Chrisann was left to support her daughter by cobbling
together waitressing and housecleaning gigs, and she and Lisa lived on
tofu and brown rice, moving so often that the Humane Society deemed
them too nomadic to adopt a kitten. When Lisa reached adolescence,
her father offered to take her in—so long as she severed, for six months,
connection with the woman who had raised her. She reluctantly agreed
and came to live with Jobs and his new wife, Laurene. More alone than
ever, Lisa was beset with anxiety. When, after a plaintive request, Jobs
came to bid her good night, “the joy and relief of this event made it
hard to relax, like trying to breathe in a high wind.”
Jobs died of pancreatic cancer in 2011, and what happens next to
Lisa largely remains a mystery; the book skims over her postcollegiate
SHARE A PLAYFUL
MOMENT IN CALIFORNIA,
IN THE ‘80S.
life. She has kept a low profile, sporadically publishing journalism,
including an essay for Vogue in 2008 that describes living in Italy, in-
spired by her love of the film Cinema Paradiso. Jobs does not figure in
the piece—not on the surface, at least. As we learn in Small Fry, one of
the few times she’d see her father cry was at the end of the Italian film.
This is an undeniably one-sided account. Shortly before his death,
Jobs apologized to Lisa for his mistakes. “I owe you one,” he told her
repeatedly during her visit. “I didn’t spend enough time with you when
you were little.” But decades had accrued, and for Lisa, the narrative
had already assumed its shape. Of the book’s myriad achievements,
the greatest might be making that story her own.—LAUREN MECHLING

290 SEPTEMBER 2018 VOGUE.COM

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VL IFE
TA L E N T
Star Player
In Spike Lee’s latest, former
footballer John David
Washington proves his
agility on-screen.
THE TRUEST STORIES ARE occasionally
the most unlikely. In the 1970s, Ron Stall-
worth, a young African American police
detective in Colorado Springs, became a
card-carrying member of the Ku Klux Klan,
wooing local leaders by phone and sending a
white colleague from the police department
to meetings in his place—an intelligence
operation as impossible-seeming as Cyrano
de Bergerac’s, but much riskier.
“It’s an unbelievable story. When you
first hear it, you’re like, ‘Didn’t Dave Chap-
pelle do a skit about this?’ ” says John Da-
vid Washington, who plays Stallworth in
BlacKkKlansman, Spike Lee’s new film
based on the unlikely mission. TA L E N T> 2 9 8
IN THE DNA
THE ACTOR, IN A GUCCI COAT AND SHIRT,
INHERITED A SENSE OF STYLE FROM
HIS FATHER, DENZEL WASHINGTON.
PHOTOGRAPHED BY JUSTIN FRENCH.
FASHION EDITOR: TESS HERBERT.
G RO OMIN G: BARBE R, L ARRY C HE RRY. DE TAILS, S EE IN TH IS ISSU E .
®
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VL IFE
Part broad comedy, part deadly sharp social comment, the mov- knew I wanted to speak those words.” But he also wanted to avoid
ie—which costars Adam Driver (as the white double standing in nepotism, so he made a life in a field of his own: football. Studying
at KKK get-togethers) and Laura Harrier (as a Black Power stu- sociology at Morehouse College on an athletic scholarship, he was
dent organizer)—walks a line nearly as daring as the undercover tapped by the NFL and signed to the St. Louis Rams’ practice
scheme that it portrays, telling a story with a cop as its hero and squad. “Football spearheaded my campaign of independence,”
a renascent Klan as its foil. At the film’s he says. That path was cut short following
vexed center is Washington’s Stallworth, a severe injury. In pain and wrestling with
who, as Colorado Springs’s only African “It’s an unbelievable story. depression—“It didn’t win; I won”—he was
American police officer, reimagines double asked to audition for the HBO series Bal-
consciousness as a crime-fighting tool.
When you first hear it, you’re lers. (The show is about football players.)
Like the real Stallworth, Washington’s like, ‘Didn’t Dave Chappelle He went in thinking it would be practice
character has long, searching phone con- do a skit about this?’ ” for the perpetual rejection of an actor’s life.
versations with David Duke (played by Instead, he got the part.
Topher Grace), using an exaggerated “white “Looking back on it, I can’t believe I
voice”: a source of comedy in the movie, and an indication of played that very violent sport,” he says. “I’ve sustained five con-
Duke’s credulity in life. “I thought this was an emotionally charged cussions, an Achilles-tendon tear, broken ribs, a meniscus tear.” In
mission,” says Washington. But Stallworth, whom Washington a roundabout way, though, football put him in front of an audience
would call after particularly difficult scenes, “kept reiterating how and, even more, let him feel he deserved to be there. Washington
professional it was.” Stallworth “never lost his cool,” Washington still sometimes calls his directors “Coach,” and says he plans to
says. “I think that’s heroic.” focus on the stage and feature films going forward—a move that
Open and funny, with a distinctive beard (“I guess it’s a source is possible for a young African American actor largely because of
of strength—or a cover”), Washington has come to be known for the pioneering work of his father’s generation. “They kicked the
a cool of another kind: He has specialized in making it look easy door down for us,” he says. “We’re able to show that we’re not just
while seeking out the hard road. His dad, Denzel Washington, first gangsters, we’re not just slaves, and we’re not just a single idea of a
gave him the acting bug. “When I saw my father do Richard III cop.” Even a story like Stallworth’s has an audience. “Society is like,
for Shakespeare in the Park—I was four years old, maybe five—I Yeah, we want more of that!”—NATHAN HELLER

BEAUTY

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FLOWER MARKET
met a contour stick she’s liked, FOR HER RODIN MAKEUP
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DRESSED UP A SELECTION OF
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“the color that pomegranate IN PAINTERLY POPPIES.
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in a sheer, silky lipstick for an
“effortless little touch” that
complements a bare face and
a packed schedule. “Like a lot
of people, I’m constantly on the
go and living out of my purse,”
says Traina, a soon-to-be
mother of two, who was after
convenience—and comfort—
when it came to formulation.
“You don’t feel them,” she says
of the multitasking lineup that
imperceptibly melts into skin.
“You just have a joyful, natural
TIM HOU T

of foundation and has never kind of glow.”—APRIL LONG

298 SEPTEMBER 2018 VOGUE.COM

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 VL IFE

N O S TA L G I A

Hat Tricks
Before he became the beloved bike-
pedaling photographer,
Bill Cunningham delivered drugstore
lunches to keep his millinery label
afloat. In an excerpt from his
posthumous memoir, he recalls his
bohemian beginnings.

IN NOVEMBER OF 1948, without the slightest idea

of how to rent a shop, I went in and out of every
building I saw with empty windows, inquiring about
space. I decided my shop should be no farther down-
town than Hattie Carnegie’s on East Forty-Eighth
Street, and no farther uptown than Fifty-Seventh
Street somewhere between Park and Fifth Avenues.
Oh, was I ever dumb and innocent! As I dashed into
buildings, breathless with excitement, most of the
people I met thought I was pulling a school prank. THE SUN ALSO RISES
When I saw what appeared to be empty windows JUST A FEW YEARS AFTER CUNNINGHAM OPENED SHOP, HIS FANCIFUL CREATIONS REGULARLY APPEARED
on the top floor of Hattie Carnegie’s, I walked right IN VOGUE. HERE, HIS VELVET-TIE BEACH HAT, PHOTOGRAPHED BY IRVING PENN FOR VOGUE IN MAY 1956.

into the grand salon, where a frosty-eyed salesgirl

said Hattie would be delighted to rent me the top rooms. She went on
to say Hattie would be thrilled to see me, and she wrote down Hattie’s
address, where I expected to be greeted with open arms. I was so sure
of myself, and the $300 I had in my pocket made me feel I owned the
world. With great dignity I rushed over to the address the salesgirl
had given me, which turned out to be the insane asylum at Bellevue
Hospital. I was so mad I could hardly see straight. Who did I think I
was to just rush into Hattie Carnegie’s and rent the top floor?
The next day, with fresh enthusiasm, the first rays of honest hope
came with a charming little town house, 62 East Fifty-Second Street,
formerly, as I recall, the residence of the mayor of New York around
1820, and a notorious speakeasy during the 1920s. As I walked up
the front steps and entered the quaint Renaissance-revival reception
room—which looked down on a huge Hollywood-type medieval
banquet hall with six desks on either side of a giant fireplace—a kind
of moon-shaped face covered with freckles asked me what I wanted.
The young lady of about 28 turned out to be secretary to the six men
who held offices in the three-story building. Her name was Kathy
Keene. When I asked her about the empty windows on the top floor
and I told her I planned to open a millinery business, she thought I
was a little mixed-up but invited me to stay awhile and warm myself
from the ten-degree cold outside. As we talked, she became more be-
lieving, and finally said to come back the following day, as there was
a tiny attic room on the top floor that was empty. The next day, I was
sitting on the doorstep when Miss Keene arrived to open the house.
We had an hour before her bosses would come, so she briefed me on
how to impress them, as they didn’t want to speak to some crazy kid
about renting a room. Kathy was terrific; she told me to tell her boss
the names of the women for whom I had just made masks, as her boss
was a desperate social climber. Finally he arrived and called me into his
office, but when I started telling him about my plan to be the world’s
greatest milliner and began naming some of my customers, the guy
nearly fainted. He thought he’d caught a real live one. He figured he’d
use me to meet all the ladies, so I was given the room. N O S TA L G I A > 3 1 8

316 SEPTEMBER 2018 VOGUE.COM

 VL IFE
Up tiny, winding stairs were the offices of a movie talent scout,
headed by the niece of David O. Selznick, and another office for TV
productions, where dozens of passé radio personalities from the 1920s
and ’30s were desperately trying to make a comeback. On the top
floor, a man in the front room wrote murder mysteries; he was a real
spooky character. There, in the back of the house, was my first salon,
a nine-by-twelve room with two large windows looking down to what
once was an enchanted garden of fountains and statuary, now lying in
despair after 20 years of neglect. Finally we got down to the discussion
of rent, which I wasn’t prepared to pay. The price was put at $50 a
month. I immediately said I couldn’t afford it but that I’d clean the
house each morning before eight for the use of the room. The owner
was stunned by my unorthodox terms
but decided he needed a cleaning man,
and the deal was made. (Miss Keene,
knowing I had little money, told me they
needed a house cleaner.) Within two days
I had moved into my garret, with just
$300 in capital. I was a ten-cent million-
aire and immediately rushed out to the
Salvation Army store, where I bought
slightly moth-eaten Austrian drapes and
Louis Bronx French furniture. I think
the whole room was decorated for about
$35. Wallowing in French chic, I started
making my new hats.
Separated from my glamorous salon by
a three-panel cardboard screen that hid
the workroom, I designed hats inspired
by nature. Life-size apples hung on hats
of red felt; daisies were wrapped around
plaid duckbills, and a pixie cap of straw
was molded into fruit shapes. These were
truly happy times, and I waited quietly
for my first client to come rushing up the
narrow little stairway. But I must honestly
say, they didn’t come breaking down the
door, and my $300 disappeared. BIRDS OF A FEATHER
“I DESIGNED HATS INSPIRED BY NATURE,” CUNNINGHAM
Finally I took a job delivering lunches WRITES. HERE, CIRCA 1957, HE DRESSES A CUSTOMER
for a drugstore on the corner of Madison IN ONE OF HIS ELABORATELY
and Fifty-Second. For this I made tips
and got a free lunch. At night I got a job as a barker on Broadway,
at the vaudeville Palace Theatre. After a few weeks in the freezing
cold, I moved inside, where the Saturday-night audiences would give
a few quarter tips for better seats. I stayed on this job for about four
months and then moved on to the Howard Johnson’s restaurant
across from Radio City, where I had lots to fill my stomach, and
generous tips from the soda counter. My hours there were from
five in the afternoon until two in the morning. In between all this,
I designed the hats. The millinery-supply houses were all kept busy
counting out my payments, the piles of nickels and dimes I had made
the previous night.
On Sundays I would roam the streets of New York after early church,
feasting my eyes on the wonderful window displays, which are perhaps
the best free show in New York, always winding up my tour at the pub-
lic library on Fifth Avenue. There I would spend the evening looking
through old issues of Vogue and Harper’s Bazaar, and the library’s
superb collection of costume books.
318 SEPTEMBER 2018 VOGUE.COM
Leading up to my first press collection, in July 1949, I worked
night and day to prepare 50 models, with the help of my first milli-
ner, a darling, quiet lady with an alcoholic sister who would arrive
at the shop at the most unexpected moments, demanding money for
whiskey. Wild scenes of screaming and fighting would often occur
between the two sisters.
The people in the house were similarly colorful, and anything
could be expected. I was so naive I hardly knew what was going on
between the bill collectors who were steadily filling the front office
of the house, chasing most of the people who worked there, and the
two men on the second floor who often displayed screaming tempers,
scaring my sedate customers out of ever coming back. On one oc-
casion, while I was fitting a deep cloche
hat on a very timid Park Avenue woman,
the cops raided the second floor, and the
two men scrambled over the garden wall
to adjoining Fifty-Third Street.
On another occasion, one of the movie
producers, who was being hotly pursued
by the sheriff, came in late one night to
gather all her belongings with the help
of a now-famous and respected movie
actor. They were escaping to California
but before leaving decided to take what
they thought was an antique. It was a
bidet in the second-floor bathroom, and
these two damned fools got ahold of the
fire hatchet and began chopping the lead
plumbing. I woke up to see a waterfall
flowing down the spiral stairway, pooling
in several feet of water down below.
Despite all the wild carryings-on, my
first show got off to a grand start. The
old garden and the big Renaissance hall
were lent to me for my showing, as all
the people who worked in the room were
hoping to meet my customers. I was also
allowed to use the dirty garden, and
found myself very happily cleaning it
PLUMED DESIGNS. and arranging big bunches of peonies
in glass light globes I had taken off the
unused ceiling fixtures and planted in the sooty ground. The center
fountain was cleaned out, and palms sprouted from its spout. The
gals from Bonwit Teller’s modeled the hats. Of the 75 hoped-for
guests, only six customers came, all hatted in my latest whims, and
of the press, only one appeared, but she was the most influential and
important in all New York: Virginia Pope of The New York Times.
Most people would have thought the tiny audience a disaster, but I
felt the queen herself was there, and no one else mattered. She gra-
ciously sat through the whole show, when I’m sure she could have
used her time elsewhere. The next day a tiny paragraph appeared
on the Times fashion page proclaiming a new designer. This was
the most important encouragement and gave me reason to fight
on—and what a fight it was! 
AN THO NY MAC K
From Fashion Climbing: A Memoir by Bill Cunningham. Copyright ©
2018 by The Bill Cunningham Foundation LLC. Published by permission
of Penguin Press, an imprint of Penguin Random House LLC.
Atlanta
Bal Harbour Shops
Boston
Dallas
Houston
New York
Palm Beach

www.akris.ch
877 700 1922
 VL IFE MARNI
THE MILANESE LABEL,
NOW DESIGNED BY
FRANCESCO RISSO,
MADE BOHEMIANA
AN INTERNATIONALLY
UNDERSTOOD LANGUAGE.
SACAI X MARNI COAT, $4,210.
CHARLOTTE
CHESNAIS
THE DESIGNER’S JAPANESE,
THE JEWELER’S FRENCH:
JW ANDERSON
COLLABORATIONS CAN IRISHMAN JONATHAN
BE TRANSGLOBAL. SACAI ANDERSON’S OWN LABEL
X CHARLOTTE CHESNAIS IS IN LONDON, WHILE
EARRING, $625. HE DIRECTS THE SPANISH
HOUSE LOEWE FROM PARIS.
JW ANDERSON DRESS.

MAISON
MARGIELA
FOUNDED BY A BELGIAN,
NOW DESIGNED BY A
SPANISH BRIT. MAISON
MARGIELA COAT AND MAISON
BAG ($2,755). MARGIELA
JOHN GALLIANO’S CREATIVE
IMPULSES COMPLEMENT
THE RADICAL ORIGINS
OF ANTWERP’S MARTIN
MARGIELA. COAT BY MAISON
MARGIELA, $3,470.

SACAI
DESIGNER CHITOSE
ABE DESIGNS
IN JAPAN, SHOWS IN
JACQUEMUS PARIS—AND SELLS
THIS YOUNG PARIS LABEL IS EVERYWHERE. SACAI
AESTHETICALLY FRENCH— CLUTCH, $745.
BUT THINKS GLOBALLY.
JACQUEMUS TOP ($495) AND
SKIRT ($475).

GIVENCHY
CLARE WAIGHT KELLER
IS THE FOURTH BRITISH
CREATIVE DIRECTOR
(FOLLOWING GALLIANO
AND MCQUEEN AND
MARNI
MACDONALD) AT THIS CROSS-CULTURAL

S E AN TH OMAS. FASH ION E DITOR: KATIE BU RNE TT. H AIR, TAMAS TUZ ES.
MOST GALLIC OF HOUSES. COLLISION COLORS SO
GIVENCHY BOOTS, $1,595. MUCH OF WHAT THIS
LABEL DOES—LIKE
CHUNKY TREAD SOLES
ON STRAPPY SHOES.

MAKEUP, JO HN MCKAY. P RO DUCE D BY L EO NE IOANN OU FO R

MARNI SANDALS, $1,070.

FAS H I O N

PO NY P ROJECTS. DE TAILS, S EE IN TH IS ISSUE .

Off the Map
When the origins of a designer or a label
matter less and less, e-commerce site Ssense is
championing the idea that fashion can come
from absolutely anywhere. By Robert Sullivan.
IN RETROSPECT, THE FIRST TRIES at selling fashion online were a
little lame. They offered fashion to the world as if the world were merely
New York, Paris, London, and Milan—as if the rest of the globe were
off the fashion map. The Montreal-based team at Ssense—a Canadian
e-commerce platform that carries more than 400 designers from around
the world, from Comme des Garçons and Kenzo to sidewalk-friendly
hiking boots by Alyx—like to think of themselves as expert outsiders.
They’re the sort of people who are OK with living everywhere else,
which might just be why they relate so well to the rest FA S H I O N > 3 2 6

322 SEPTEMBER 2018 VOGUE.COM

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VL IFE
of the world. Ssense, in other words, sees globalism as not just positive
but progressive—and it’s a part of the company’s DNA: Cofounder
and CEO Rami Atallah immigrated to Canada from Damascus with
his family as a teen and then, while studying engineering at college, was
so pleased with being able to buy a pair of Diesel jeans online that he
decided to set out with his brothers Firas and Bassel—also tech guys—to
transform fashion retailing. Fifteen years later, that translates into not
only the Ssense site but their just-opened brick-and-mortar flagship
store on Montreal’s Saint-Sulpice Street.
Ssense’s employees are composed of the demographic that retailers
adore—millennials—with most of them hired precisely because of their
lack of fashion experience (thus making them, or so the thinking goes,
more likely to reinvent the wheel). In a football field–size open office
in the old garment district of Montreal, this sea of 400-plus wears
a stream of denim skirts matched with T-shirts, Off-White mixed
with Balenciaga, and everything from
minidresses to flowing floor-length
For Ssense, globalism pieces. Isabelle Long, the studio direc-
isn’t just positive— tor—wearing a Craig Green quilted
jacket, Vetements boots, COS pants,
it’s progressive and a shirt by Margiela—grew up in
and around Montreal, working at her
parents’ grocery store, where her innate styling abilities allowed her to
rearrange a mess of haricots verts so that customers not only bought
more but told her parents they tasted better. Prior to Ssense, Long was
a fashion editor at Elle Canada, managing several shoots a month.
Now overseeing eleven in-house studios, she thinks less like a fashion
editor and more like a head of air-traffic control. “It’s managing chaos,”
she says. She trains recruits for up to eight months, then sets them free
into the oceanic currents of world fashion. “We look for raw talent,
for point of view,” says Long.
Ssense’s retail strategy is less about pushing things on people and
more about enticing them with an approachable vibe. “We don’t want to
be bugging you,” says vice president of marketing Guillaume Mercier.
“You won’t see us doing ‘ten things to buy this season.’ ” They dress
models in a mix of brands, posed naturalistically. “We try to inspire
and maybe sometimes shock, but we want to balance that with a feeling
of being really accessible and familiar.”
Not that they have left fashion expertise behind. Ssense’s senior di-
rector of womenswear buying, Brigitte Chartrand, who once ran a hip
boutique in downtown Montreal, now leads a team of scouts who travel
not just to the world’s established fashion capitals but well beyond—as
far as Seoul and Auckland, New Zealand. “We strive to find new brands
from areas of the world that aren’t always top of mind when you think
of fashion,” she says. Ssense was among the first retailers to stock Virgil
Abloh’s Off-White, and to Chartrand, buying Vetements early was
almost an act of public service. “Things felt a little flat at the time, and
they brought a new silhouette into the industry,” she said.
In keeping with the DIY spirit prevalent at Ssense HQ, Chartrand—
in an emerald-green Balenciaga top, a Calvin Klein Prince of Wales–
check wool skirt, and Céline boots—is not keenly focused on tech,
despite working at a tech platform. “I’m not a social-media person,”
she says. “So far, the gut is doing pretty well.” What’s selling well for
this fall is their trademark mix of big luxury labels and up-and-coming
brands, followed by footwear, bags, and accessories. She’s looking
forward to new pieces by (among others) Marine Serre (page 506),
Kwaidan Editions, and A_Plan_Application, the new label founded
by sculptor Anna Blessmann and her partner, Peter Saville.
The content on the site, curated by the cult Berlin publisher of 032c, is
akin to pages from an old-school magazine—think early-nineties Inter-
view, but with a link to a piece by Isabel Marant or an essay in last week’s
Artforum. (“We like everything that we do to feel analog,” says Tony Wang,
the director of content.) Their own internal statistics show that the more
time Ssense visitors spend reading on the site, the more likely they are to
buy what’s selling well at the moment—say, Adererror and A-Cold-Wall*.
The new store in Old Montreal (there are others on the way, with
additional cities yet to be determined), meanwhile, is further proof
of their attempts to cross boundaries. Yes, you can purchase pieces
there—but you’re just as likely to see an art show or a performance
or attend an event. (It’s worth noting that Mercier, the marketing VP,
worked for two years with the founder of Cirque du Soleil.) All of
which makes for an operation with myriad moving parts. Rami Atallah,
Ssense’s notoriously press-shy CEO, spends the day dashing in and out
of conference rooms, but when I asked him if he considered Ssense
a fashion company, a tech company, a media platform, or something


FAS H I O N
Small Wonders
For more than 20 years, accidental jeweler Pippa Small (a trained anthropologist
and human-rights activist) has crafted earthy bohemian bijoux that do far more
than add a touch of glitz to the wearer. Her jewelry is a source of income and the
beginning of a return to normalcy for its makers—displaced craftsmen and aspiring
artisans living as refugees across the Middle East and Southeast Asia. In partnership
with the NGO Turquoise Mountain, founded by the Prince of Wales, the London-
based Small turned her attention to Jordan, where she supports a predominantly
COU RTESY OF PIPPA S MALL

Syrian-run workshop in Amman. The first collection features handcrafted

hammered-gold rings, lush with vines and
pomegranates, and feather-thin filigree pendants. GILDING FOR THE GOOD
A 22K-GOLD RING ($1,750),
Pieces carry whispers of the makers’ heritage EARRING ($2,400), AND AMULET
but also bear a fresh, universal appeal. As Small PENDANT ($2,450) FROM
PIPPA SMALL JEWELLERY’S
explains, “You have to find the things that speak COLLABORATION WITH SYRIAN
to us all.”—LILAH RAMZI ARTISANS. PIPPASMALL.COM.

326 SEPTEMBER 2018 VOGUE.COM

aliceandolivia.com @aliceandolivia
VL IFE COVER GIRLS
IN ADDITION TO CÉLINE
SEMAAN’S POLITICALLY
CHARGED SCARVES (NEAR
LEFT), THE SHOW INCLUDES
GARMENTS, NEWS CLIPS,
AND FASHION PHOTOGRAPHY.

IN 1923, THE PIONEERING feminist Huda Shaara-
wi sent shock waves through Egyptian society by re-
moving her face veil in a Cairo train station. Today,
young American MIPSTERZ (“Muslim hipsters”)
proudly wear head scarves while skateboarding.
Women’s dress has often served as a flash point
in centuries-old conflicts between tradition and
modernity, secularism and religion. With the new
exhibition “Contemporary Muslim Fashions,” San
Francisco’s de Young Museum wades into this rich
and complex territory.
“Almost half the designers in the show are wom-
en in their 20s and 30s,” says Jill D’Alessandro, a
curator in charge of costume and textile arts at
EXHIBITION
the Fine Arts Museums of San Francisco, and a
cocurator of the exhibition. (Max Hollein, the new
director of the Metropolitan Museum of Art and
C LOC KWIS E F ROM TO P LE FT: PH OTO G RAPHY BY SE BASTIAN KIM; CÉ LINE S EMAAN . BAN NED , 20 17. PHOTO: DRIELY CARTER; FAIZA BOUGUESSA.
COU RTESY O F THE ARTIST; BARJIS C HO HAN, S P RIN G/SUMME R 2016; PH OTO: LAN GSTO N HU ES. MOD EST ST REET FASH ION VOL. 1 , 20 14 ;
LAN GSTON H UES. U NTITLED, 2013–2015. COURTESY OF TH E ARTIST. ALL: COURTESY O F THE F INE ARTS MUS EU MS OF SAN FRANC ISCO.
and Malaysia; the latter two countries informed the
exhibition with their long histories of cross-cultural
exchange. A Kuala Lumpur couture shop, for exam-
ple, will cater to both Chinese clientele and a Muslim
elite, transforming traditional ikats, songkets (a
kind of brocade), and imported French fabrics into
bespoke creations.
Of course, for many women living in Muslim the-
ocracies, covering up in public—whether via head
scarves and trench coats, floor-length abayas, or the
more extreme niqab, concealing all but the wearer’s
eyes—is not a choice but is mandated by sumptuary
law and enforced by “morality police.” The exhibi-
tion includes documentary photographs of women
during the 1979 Iranian Revolution protesting the

Modest formerly of the San Francisco institution, was one

of the forces behind the inception of the show.)
“They’re looking to create a wardrobe that is in-
imposition of the chador. Such protests continue,
via social media, today.
But others, like Saudi designer Mariam Bin Mah-

Operandi ternational, contemporary, urban, and at the same

A new show looks at faith
and fashion as they play out
in the Muslim world.
time adheres to modest dress codes.” Meanwhile,
big corporations (like Nike, with its Pro Hijab line)
are discovering the buying power of the worldwide
Muslim community.
D’Alessandro’s research took her to Brooklyn
and London, but also to Saudi Arabia, Indonesia,
fouz, see dressing modestly as a universal impulse.
She finds inspiration for Haal Inc., her line of lux-
urious abayas, in the work of Spanish couturier
Cristóbal Balenciaga. “There are a lot of Catho-
lic references in his work,” she says in the catalog.
“Muslims did not create this. It has been around for
centuries, and it’s very instinctive.”—LESLIE CAMHI

328 SEPTEMBER 2018 VOGUE.COM

VL IFE BEAUTY

In the Air
What does the present moment smell like?
The latest perfumes tap our collective preoccupations—
and promise to linger beyond the news cycle.

MESSAGE IN A BOTTLE
A LINEUP OF NEW FRAGRANCES REFLECTS THE ZEITGEIST, FROM #METOO TO
THE WIDE WORLD OF WELLNESS. ILLUSTRATION BY LISA RYAN.
S
croll back for a moment to 1994. Whitewater dominat-
ed D.C. chatter; Tonya Harding and Nancy Kerrigan
were embroiled in scandal. Kurt Cobain spun out, a
white Bronco cut loose, and a sitcom about six friends
with an implausible New York apartment debuted on TV.
That same year, Calvin Klein released CK One into the fra-
grance ether. The scent was democratic in purpose—it predat-
ed the gender-agnostic wave by about 20 years—with a linear
architecture that didn’t morph much as the hours passed.
If CK One was a remedy for its time, the fall fragrance class
of 2018 is a reflection of and reaction to the present. Take
Calvin Klein’s latest: Called, simply, Women, it responds to
the #MeToo movement with a message of empowerment, a
female-led creative team (noses Annick Menardo and Hon-
orine Blanc, along with artist Anne Collier), and a campaign
fronted by whip-smart actors Lupita Nyong’o and Saoirse
Ronan. A woodsy riff on more predictable florals, the scent
itself is vying to be the official flacon of the Fourth Wave.
“A lot of the work in fragrance is about connecting with
people emotionally, whether it’s politics, the environment, or
sustainability,” says Ben Gorham of Byredo. His perception
of the current mood is expressed in Eleventh Hour, billed as
the “last perfume on earth”—in step with dystopian shows
like The Handmaid’s Tale. He sees hope (and ripe fig notes)
in that twilight of civilization, but adds, “I think people are
imagining the end more than ever.” They’re also considering
how to deal with it. “Now women are choosing perfume
that reflects their lifestyle, too,” says The Harmonist’s Lola
Karimova-Tillyaeva, referring to the feng shui principles that
ground her niche line. Its latest scent, Yin Transformation—an
aqueous blend of rose, Calypso orchid, and ylang-ylang—
seems a tranquil fit for the uptick in fringe forms of healing.
“This generation wants your mission to be driven by their
same values,” says human rights activist Barb Stegemann.
Her perfume brand, 7 Virtues—handpicked for Sephora’s
new transparency-minded hub, Clean—sources fair-trade
raw materials from farmers in economically depressed ar-
eas: vetiver from Haiti, orange blossom from Afghanistan.
If that collection drops pushpins across the map, Régime
des Fleurs’ new launch homes in on a single island: Oahu,
where founders Alia Raza and Ezra Woods soaked in the
lush scenery during a recent residency. Personal/Space—a
new five-piece suite for self and surroundings—comes in
bottles that glow in frosted jewel tones. With our country
marred by ugly rhetoric, the line (with evocative scents like
Waves and Shells) is a reminder of the beauty that exists right
here in the U.S. of A. That it’s also ready for an Instagram
close-up makes it all the more timely.—FIORELLA VALDESOLO

330 SEPTEMBER 2018 VOGUE.COM

 P UR S UE T H AT W H IC H AWA KEN S YOU .

THE ALFA ROMEO STELVIO

©2018 FCA US LLC. All Rights Reserved. ALFA ROMEO is a registered trademark of FCA Group Marketing S.p.A., used with permission. alfaromeousa.com
 PERIOD PIECES
BELOW: RUPERT EVERETT AND COLIN MORGAN, CENTER,
IN AN AMALFI CROWD SCENE IN THE HAPPY PRINCE.

HAMISH FILES

Wilde at Heart
Yours truly joins Rupert Everett
as he’s fitted for his role as a latter-
day Oscar Wilde at Rome’s storied
costume house of Tirelli.
DESIGNED DRESS FOR CLAUDIA
THE ATELIER OF THE LEGENDARY costume house CARDINALE IN VISCONTI’S
THE LEOPARD. LEFT: DETAIL
founded by self-described “fashion archaeologist” Um- WORK IN THE TIRELLI ATELIER.
STILL: MAZE PICTURES/ENTRE CHIEN ET LOUP. ALL OTHERS: COURTESY OF HAMISH BOWLES.

berto Tirelli in 1964 and now run by the effusive Dino

Trappetti is located on the lower floors of a pink Liber- one of them really needed a
ty-style villa in Rome, garlanded with wisteria and nostalgic piece of direction—they all got
charm. Marcello Mastroianni once lived upstairs, and two takes, and I got about 20.”
in a high-ceilinged, light-filled room downstairs, Rupert The walls at Tirelli are hung
Everett is holding court with costume designers Maurizio salon-style with exquisite cos-
Millenotti and Giovanni Casalnuovo, who have worked on tume sketches by many of the
his directorial debut, The Happy Prince, based on Oscar greatest designers for stage,
Wilde’s life in exile after his infamous 1895 trials and his screen, and opera—from
subsequent incarceration at Reading Gaol. The movie Salvador Dalí to Lila de No-
has been a labor of love for Everett, an eight-year process bili—as well as fashion design-
during which he proved his credentials by starring to great ers including Karl Lagerfeld
acclaim as Wilde in a revival of David Hare’s play The Judas and Gianni Versace. Tirelli’s
Kiss. “Before that I was thought of as too good-looking,” says Everett credits include the costumes for seventeen Academy Award–winning
with a laugh, “but I’d become so big from overeating, and then bitter movies and range from Piero Tosi’s sumptuous designs for Luchino
and twisted, that they saw—‘Oh, he can be like Wilde!’ ” Visconti’s historicist masterworks, including The Leopard, to his later
With funding finally in place, Everett assembled a stellar cast, in- work with Trappetti on everything from The Damned, Death in Venice,
cluding Colin Firth as Reggie Turner, Emily Watson as a luminous and l’Innocente to Pier Paolo Pasolini’s Medea; Milena Canonero’s
Constance Wilde, Colin Morgan as the beauteous but loathsomely work for Sofia Coppola’s Marie Antoinette and Wes Anderson’s The
self-centered Lord Alfred “Bosie” Douglas, and Beatrice Dalle as a Grand Budapest Hotel; James Acheson’s Dangerous Liaisons; Sandy
gap-toothed tavern moll out of Toulouse-Lautrec. “I was so lucky with Powell’s Gangs of New York, for Martin Scorsese; and Ann Roth’s
the actors,” says the ever-droll Everett, who again stars as Wilde. “Not The Talented Mr. Ripley, Cold Mountain, and The H A M I S H F I L E S > 3 3 4

SEPTEMBER 2018 VOGUE.COM 333

V L IFE
English Patient. (More recent projects include Game of Thrones and The
Borgias.) Tirelli’s warehouses now store some 170,000 costumes, and
Trappetti also assembled a remarkable collection of historical costume
and fashion—their friend Diana Vreeland, as the costume curator of
the Metropolitan Museum of Art, often borrowed pieces.
On the racks in Everett’s fitting room is clothing designed for the
corpulent bodysuit that mimics Wilde’s latter-life figure. Though Wilde
was once famed for his dandified wardrobe, after his ignominious fall
the same garments have to appear as careworn as he became (aging
costumes, of course, is an art in itself). On a tailor’s dummy nearby is
Watson’s vaguely Aesthetic Movement gown, with hand-embroidered
buttons and a collar made from elements of antique lace. Working with
a very limited budget, the designers have wrought inventive wonders.
Different sets of sleeves served to transform one gown for actress Anna
Chancellor into two, for instance, in the same way that nineteenth-cen-
tury women often ordered day and evening bodices to wear with the
same extravagant skirt.
Millenotti and Casalnuovo’s research-driven approach mirrored
Everett’s; his storyboards were filled with Brassaï’s evocative images of
Paris in the “oily smog” that the writer Jean Rhys described. (The movie’s
murky palette is largely the work of cinematographer John Conroy, whose
work Everett had admired on the BBC
series Luther.)
“Maurizio is upset that the film is very
dark,” says Everett, noting that the strik-
ing mallard-green velvet of his smok-
ing jacket now reads as stormy black
on-screen. “You have to have nerves of
steel when you show him your movie
SEPTEMBER 2018 VOGUE.COM
because he comes out absolutely livid
about something. Maurizio didn’t speak
to me for two years after I wore my collar
out in [the 2002 film] The Importance of
Being Earnest. The film was set in 1890, HAIR

but I wanted to look like Cary Grant.

MANNEQUIN: COURTESY OF HAMISH BOWLES. EVERETT: WILHELM MOSER. DETAILS, SEE IN THIS ISSUE.
We went to a film festival together, and
when the scene with the collar came up,
he went rigid like a person who just had
a coronary throm-
Band Together
When lawyer turned designer Batsheva Hay, whose
FITTING
THE BILL
bosis. He’s only just floral-print prairie frocks have New York’s downtown
LEFT: A made friends with me vanguard in full swoon, began to style her resort lookbook,
COSTUME FOR again now!
EMILY WATSON’S she sensed that something was missing. “I ended up taking
CONSTANCE “Being here is as scraps of fabric and wrapping them around the models’
WILDE AT THE
ATELIER. BELOW:
thrilling as it gets,” heads,” the 37-year-old New Yorker remembers—a more-
EVERETT AS Everett says of Tire- is-more improvisation that led to the latest addition to her
OSCAR WILDE. cultish line: headbands. The face-framing hair accessory
lli. “You have all these
ideas as a kid start- is in the midst of a mini-revival thanks to recent runway
ing out [in movies], iterations by Tom Ford and Alexander Wang, but Hay’s
which end up being new retro-inspired take benefits from the same quirky
one-off yardage as her dresses: patchwork quilt, pastel
either unachievable
cottons, leopard-dotted velvet. “They’re so much fun to
or empty when you wear,” insists Hay, who pairs the puffed pieces with her own
do achieve them— designs or simply jeans and a T-shirt. The next It item to get
but coming in here the Batsheva treatment? Scrunchies, she says. “A big part
is everything you of my brand is trying to make things that are accessible but
thought it would be. still adventurous.”—ZOE RUFFNER
You really feel that
HEAD GAMES
you’ve arrived when MODEL AND ACTRESS HAILEY GATES IN A BATSHEVA TOP, SKIRT, AND
you’re here.”  MATCHING HEADBAND. PHOTOGRAPHED BY ALEXEI HAY.

334 SEPTEMBER 2018 VOGUE.COM

C O N F I R M E D , T H I S B E AU T Y R U N S D E E P

A L FA R O M E O U S A .C O M

©2018 FCA US LLC. All Rights Reserved. ALFA ROMEO is a registered trademark of FCA Group Marketing S.p.A., used with permission.
VL IFE
BEAUTY
Generation Zap
Millennial-friendly skin clinics are competing with doctors’ offices as the go-to place for laser
facials and cosmetic injections. Is it the way of the future—or a brow-furrowing cause for concern?

THREE FLOORS ABOVE a Navy re- Modern Dermatology, a boutique

cruitment office in a nondescript Tri- practice in Westport, Connecticut,
beca building, a bas-relief sculpture agrees: “Something as seemingly safe
of gilded twin Buddhas presides over as filler can potentially cause blind-
sleek white seating. The ambience is ness if injected incorrectly.” If you are
Venice Beach bungalow meets med- curious to try an aesthetics bar, she
ical practice—which is exactly how says, make sure to seek one out with a
Lauren Abramowitz imagined the board-certified dermatologist on staff.
flagship location of Park Avenue Skin The American Academy of Der-
Solutions. One treatment room, where matology’s official stance is that any
the 41-year-old licensed physician’s medical procedure—including those
assistant provides cosmetic services— that use an FDA-regulated device
including Botox and filler injections, (e.g., a laser or sculpting probe)—
microneedling, and IV vitamin infu- should be done by a properly trained
sions, as well as laser and light ther- physician, or a non-physician under
apies—features a peacock-feather the on-site supervision of a doctor,
dream catcher and exposed brick; in accordance with any local, state,
another showcases a neon unicorn or federal laws. A med spa, or a prac-
head flanked by a hashtag and the tice like Park Avenue Skin Solutions,
universal syringe emoji. “It symbol- should, in turn, have a medical adviser.
izes a magical experience,” she says (It does; her name is Erica Walters,
without a hint of sarcasm. M.D. She is in residence two to three
Abramowitz is one of several prac- days a week, and her online bio—
titioners wooing a generation that complete with moving gif—credits
has come of age in the era of blow-out bars, and now expects similar her as being board-certified in both emergency and aesthetic medicine.)
convenience from cosmetic services usually offered within the doctor’s The problem, Alexiades points out, is that there are doctors who get
office. The lure of a more laid-back environment persuaded Nandita paid to be on retainer “who have never set foot in the place.” (A good
Khanna, 37, to try Facile’s Pasadena location, where board-certified question to ask: Is the medical director practicing on-site?) Still, high-
dermatologist Nancy Samolitis, M.D., practices. Khanna, the editorial end aestheticians are building up their client rosters based on the idea
projects director at Goop, had never tried injections. But at Facile, the of mastery: Theirs is a craft that is honed by doing cosmetics—and
Starbucks-style menu is easy to understand. “The prices are all there, only cosmetics—over and over again.
so you know what you’re signing up for,” explains Khanna. And the “I obviously feel strongly about focusing on one thing,” says Alli
extensive initial consult with Lena Metcalfe, P.A., was reassuring. “She Webb, the Drybar founder, who frequents Alchemy 43, an aesthetics-bar
said, ‘Tell me what you like about yourself.’ ” The day after Khanna’s chain with four locations in Los Angeles.“There is that kind of ease
procedures, Metcalfe called to check on her, a courtesy one might not when you go in, knowing that that’s all they do” (as opposed to a

B EAU DU NN . NEED MONEY FOR BOTOX. B E AUDUNN ART.CO M.

get from a celebrity derm with a jam-packed schedule.
Natasha Roberts, 30, whose New York–based agency The Know
represents artists, found similar comfort in Abramowitz’s ultra-
personalized care. “I don’t have any other skin-related issues, so I didn’t
feel the need to get my Botox at a dermatologist’s office.”
Macrene Alexiades, M.D., Ph.D., would advise otherwise. “These
are still medical procedures,” says Alexiades, a Manhattan dermatolo-
gist. “There is no comparison at the level of expertise and safety when
you’re in the hands of a physician.” It’s rare, she continues, but “you
can get Botox injected in the wrong place and end up with paralysis
or even death.” Also, she argues, there is quite a bit of fraudulent
material at less reputable spas. Counterfeit Botox and filler? It’s a
thing, she insists. (Beware the $50 vials of “Juvéderm.”) Deanne
Mraz Robinson, M.D., co-owner, with Rhonda Klein, M.D., of
traditional derm, who is also focused on things like skin-cancer screen-
ings and surgeries). Webb is now an investor in the company, which
counts Forerunner Ventures’ Eurie Kim as a board member. “Beauty
is undergoing massive innovation and consumer-behavior change,”
Kim explains, noting that Alchemy 43 brings the beauty routine “out
from behind closed doors.” The nod to transparency is a boon for
customers looking for a more seamless experience, or a younger client
base that “has always been curious,” she says. Now they can embark
on that quest from millennial-pink waiting rooms—where the WiFi
is fast and the matcha flows freely.—FLORENCE KANE
SIGN OF THE TIMES
A NEW COSMETICS CLIENTELE INCREASINGLY EXPECTS
THE USUAL BEAUTY-BAR CONVENIENCES, INCLUDING
ACCESSIBLE PRICE POINTS AND ONLINE BOOKING.

336 SEPTEMBER 2018 VOGUE.COM

VL IFE
BEAUTY

Northern
Lights
Martine and Gunnhild Chioko
Johansen are poised to leap
from the Oslo runways to the
worldwide stage.
LAUNCHING A MODELING CAREER—make
that two—outside the four-city fashion cir-
cuit has a way of generating the right kind
of slow-burn momentum. Just ask Martine
and Gunnhild Chioko Johansen, the stunning
nineteen-year-old twins who were scouted
on Instagram last year in their hometown of
Oslo. Local catwalk turns have already paved
the way for European fashion editorials and
a leggings-clad appearance in a campaign
for Ivy Park, Beyoncé’s activewear line. The
sisters’ Tanzanian-Norwegian background,
combined with a childhood spent attend-
ing an international school in Geneva (while
obsessing over America’s Next Top Model),
has made them citizens of the world—pre-
ternaturally suited for today’s global-focused
fashion industry, where fitting in is decidedly
out. Fitting together, however, is another story.
“Martine is always copying my vibe,” jokes
Gunnhild, younger by seven minutes. “But
for real, we always get influenced by the other
one,” in fashion (they refer to their style, which
blends thigh-high boots and their mother’s
hand-knit sweaters, as “extra”) and in beauty.
Gunnhild’s recent reckoning with her curls has
led both women to put down the straightening
iron in favor of the kind of free-flowing coils
lately seen on the runways. “You could say my
hair is myself, in a way,” Gunnhild muses on the
canvas for hairstylist Jawara Wauchope’s riff
on traditional braiding techniques. Shown here
as a cascading plait, flowing from one head to
another, the design capitalizes on the Chioko
Johansens’ natural texture—and their insep-
arability. Says Martine, “Even if we try to be
DE TAILS, S EE IN THIS ISSU E

different, we can’t!”—LAIRD BORRELLI-PERSSON

DOUBLE TAKE
THE TWIN MODELS—MARTINE (LEFT), IN CHLOÉ, AND
GUNNHILD, IN TOM FORD—ARE ON THE CUSP OF THEIR
BREAKOUT SEASON. HAIR, JAWARA WAUCHOPE;
MAKEUP, MIGUEL RAMOS. PHOTOGRAPHED BY RÉMI
LAMANDÉ. FASHION EDITOR: HELENA TEJEDOR.

338 SEPTEMBER 2018 VOGUE.COM

REMOVES

IMPROVES
MAKEUP

SKIN

DO BOTH WITH POND’S COLD CREAM.

Unlike ordinary makeup removers, Pond’s Cold Cream is
50% moisturizer. It removes your toughest makeup, even
waterproof mascara, while infusing skin with vital hydration.
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 VL
L IFE

MUCH IN STORE
LEFT: SOZZANI AT HER
HOME IN MILAN,
PHOTOGRAPHED BY
PAOLO ZERBINI. ABOVE:
THE ORIGINAL 10
CORSO COMO.

was designed by Sozzani’s partner, the artist Kris Ruhs.

Mackerel have made way for Maison Margiela; instead
of perch piled high on sopping counters, you’ll find Prada
heels. A sleek restaurant is center stage—and, of course,
Sozzani confirms with a laugh, fish will be prominent on
the menu. But while this new location may be exotic, it isn’t
as if Sozzani hasn’t conquered unexplored territory before.
“Everyone thought when I opened in Milano, 28 years ago,
that it was in a crazy neighborhood, too. My father said,

COURTESY O F PRADA. DE TAILS, S E E IN THI S I SSUE .

‘What are you going to do in a garage with no windows?’ ”

E XTERIO R: COU RTESY OF 10 CORSO COM O. S HOE :

Soon, though, she added plants to the courtyard, and
the birds came, not to mention curious passersby. “What
is this place?” they asked, agog at the radical and stylish
mash-up of merchandise that Sozzani pioneered. She was
among the first to introduce the concept of a “concept”
store, where humble candles and art books mingle with

FA S H I O N > 3 4 6

FAS H I O N

Corso Concetto
Carla Sozzani’s landmark Milan store,10 Corso Como,
opens big in New York. By Lynn Yaeger.
WHEN YOU TELL CARLA SOZZANI that fashion people, those elusive
creatures, rarely find their way to Manhattan’s Seaport District, where
the latest edition of her landmark shop, 10 Corso Como, is opening
September 6, she is undaunted. “They will come! It will be a destina-
tion! I love that this area is so historical, and so near the water—I
don’t think there is another place in New York I like better.”
The new store—a near-28,000-square-foot expanse
one block from the East River—is housed in one of MARVEL UNIVERSE
the former Fulton Fish Market buildings and PRADA KITTEN HEELS,
SOLD EXCLUSIVELY
AT 10 CORSO COMO
NEW YORK; $890.
342 SEPTEMBER 2018 VOGUE.COM
 VL IFE
the one-off merchandise. (One shopper—me—remembers how excited
she was to find a velvet Roberta di Camerino/10 Corso Como tote.)
Today, Sozzani is sporting a nipped-waist chiaroscuro coat and a
pair of pristine woven white trainers, both by her great friend the late
Azzedine Alaïa. Her revolutionary approach to merchandising, she
explains, has its roots in her former life as a fashion editor. “It’s all
about choices. The point of view is what matters.” Her point of view,
quirky and devastatingly chic, has been honed over decades—unbe-
lievably, this year marks her fiftieth in fashion.
Though it is currently undergoing a sophisticated revitalization,
Sozzani’s new neighborhood is still a tourist mecca where the smell
of the sea mingles with the aroma of fast food. But this is fine with
her! Everyone, she declares, is welcome to enjoy the café, poke around
the gallery, and maybe buy something, even if only a pencil, and have
it be exquisitely wrapped in the store’s trademark polka-dot paper.
10 Corso Como already has branches in Seoul, Beijing, and
Shanghai, but Sozzani swears she doesn’t tailor her merchandise
for different cities. That said, there will a number of New York–only
products to celebrate the new store, including a silvery MM6 coat with
seriously fringed sleeves, a snowy tee from Stella McCartney, and a
decorated vintage bag from the cult brand History by Dylan. Still,
Sozzani insists, “With instant communications now, it’s very hard to
say, ‘This is American, this is Italian, this is Chinese.’ ” No matter how
far-flung their hometowns, her customers speak the same aesthetic
language. “If you like the same designers,” she says, “you probably
also like the same kind of books, and maybe even the same food.”
Sozzani doesn’t appear a bit concerned that her highly individual
brick-and-mortar empire will inevitably be vanquished by online
shopping. “The internet is about fast shopping, and 10 Corso Como
has always been about slow shopping—enjoying life, taking your
time.” After all, she says with a shrug, there is no substitute for the
evidence of your senses: “You cannot smell through the screen.” 

MOVIES

Ties that Bind

With two powerhouse performances,
the pressures of family and religion
unfold on-screen.
IT’S A CHILD’S MISTAKE to believe that the adults
around us are all grown up. Just ask Joe Brinson
(Ed Oxenbould), the hero of Paul Dano’s directo-
rial debut, Wildlife, a stinging new family drama
set in 1960s Montana. This diffident fourteen-year-
old watches his parents’ marriage crumble when

WIL DLIF E: COU RTESY OF IFC FILMS. AN IFC FIL MS R ELE ASE . THE CH ILDRE N ACT: COURTESY O F A24.
his feckless father, Jerry (Jake Gyllenhaal), heads
off to fight a forest fire, sending his upbeat moth-
er, Jeanette (Carey Mulligan), into a crisis—and
the arms of a more worldly man (ever-superb Bill
SIDE EYE Camp). Working from Richard Ford’s novel, Dano
CAREY MULLIGAN
(ABOVE)
(who co-wrote the script with Zoe Kazan) operates in a spare style
PLAYS THE clearly attuned to his actors, particularly the Australian Oxenbould
DISENCHANTED and the touchingly restrained Gyllenhaal. As for Mulligan, she’s
WIFE OF JAKE
GYLLENHAAL IN never been better, teasing out every nuance of Jeanette’s passage
WILDLIFE; EMMA
THOMPSON from plucky warmth to hard-won wisdom. It’s a quietly dazzling
(RIGHT) SHINES AS turn that deserves to make noise during awards season. The same
A HIGH COURT
LONDON JUDGE IN is true of Emma Thompson in The Children Act, where she stars as
THE CHILDREN ACT. Fiona Maye, a coolly rational British judge whose workaholic ways
are destroying her marriage to her doting husband (Stanley Tucci).
All that changes when she’s faced with the case of a minor, Adam
(Dunkirk’s Fionn Whitehead), who on religious grounds refuses life-
saving medical treatment. Fiona visits the idealistic young man in the
hospital, and their meeting sparks a connection. Based on the novel
by Ian McEwan, Richard Eyre’s melodrama is too schematic by half.
Yet we’re held by the deepest acting of Thompson’s career. Whether
briskly summoning the court or falling into a foolish kiss, she paints an
extraordinary portrait of a brainy, bottled-up woman who discovers
that the law has no jurisdiction over the human heart.—JOHN POWERS

346 SEPTEMBER 2018 VOGUE.COM

 Know Your Diamond
COLOR GRADE

CLARITY GRADE

CUT GRADE

CARAT WEIGHT

Look for diamonds graded by GIA, the creator of the 4Cs.

Learn more at 4Cs.GIA.edu

CARLSBAD ANTWERP BANGKOK DUBAI GABORONE HONG KONG JOHANNESBURG LONDON MUMBAI NEW YORK RAMAT GAN TAIPEI TOKYO
VL IFE

UP CLOSE AND
PERSONAL
LEFT: MODEL BLÉSNYA
MINHER WEARS A KHIRY
EARRING ($425; KHIRY
.COM) DESIGNED BY
JAMEEL MOHAMMED
(BELOW, WEARING A BODE
SHIRT), WHO BRINGS
AN AFROCENTRIC
AESTHETIC TO HIS BOLD
MINIMALIST JEWELRY.
ALEXANDER MCQUEEN
JACKET ON MINHER.

FAS H I O N

Learning Curve
Jewelry designer Jameel Mohammed’s label
Khiry is a lesson in culture and cool.

FOR JAMEEL MOHAMMED, JEWELRY is only the beginning. “I’m background to his years spent training in African dance, to make
MAKEUP, GRAC E AHN . S ET DES IGN , DEV IN
N MO RR IS. DE TAILS, S E E IN THIS ISSUE .
MAX ORTEGA. H AIR, ADL E NA DIGNAM;

trying to establish a new vision of luxury,” he says. Using craftsman- jewelry that reads as minimalist on the surface but is often an ex-
CAMPB EL L ADDY. FASHIO N E DITO R:

ship to “inquire about black culture,” Mohammed created Khiry,
his two-year-old line of dramatic bracelets, monumental necklaces,
and sculptural earrings. The name—Swahili, he says, for “extremes
in fortune and health”—is an apt one: The label, founded during his
sophomore year at the University of Pennsylvania, has since been
worn by the likes of Issa Rae and Ava DuVernay.
The 23-year-old Mohammed, now based in New York, filters a
wealth of reference points into his work, from his political-science
ploration of what he calls “global black aesthetics.” That encom-
passes everything from a cuff that echoes shapes of the horns on
cattle herded by the Dinka people of Sudan to pieces that nod to
Art Deco’s African roots. But whether they’re gleaming on the red
carpet or flashing on the street, their appeal is global—a fact that
their creator finds heartening. “It makes me feel visible,” Moham-
med says. “It’s like, We see you, homie—we see you trying to make
those jewels.”—JANELLE OKWODU

348 SEPTEMBER 2018 VOGUE.COM

 October 5/6/7
Be first in line for program announcements
and information about ticket sales.
Sign up at newyorker.com/festival

@newyorkerlive #tnyfest
VL IFE
GIGI HADID
IN PFEIFFER .

BELLA HADID
IN ALYX.

JULIE PELIPAS
IN BETTER.

FLASH

Suitably
Attired
Short, cinched, or skirted—
the new bossy pants are in gray
flannel and mean business.

B ELL A HADID: G OTH AM/GE TTY IMAG ES. GIG I H ADID: DARA/ BAC KGRID. PEL IPAS : DVORA/S H UTTERSTO CK.
LAW: STE PH EN CO KE /S HU TTERSTOC K. LADY GAGA: BAC KGRID. JEN N ER: B EST IMAG E/ BAC KGRID.
LADY GAGA
IN MOLA
WALKER.

KENDALL
JENNER
IN CARMEN
MARCH.

IRIS LAW IN
VINTAGE.
VL IFE
ON A HUMID WEEKEND IN June, a teal RV decorated
with the Pumpspotting logo—a heart with the circle-dot
doodle of a breast—rumbled into Detroit. The two-
year-old start-up, whose app offers a crowd-sourced
guide to lactation-friendly spaces, was in the midst of a
Kickstarter-fueled tour across the country. Inside, preg-
nant women and new moms relaxed into pastel poufs;
three-week-old babies suckled not far from a two-year-
old; a lactation coach suggested alternate positions for a
better latch. With the RV at humming capacity, someone
joked that it might tip.
Welcome to the new breastfeeding revolution.
“Nothing drives innovation like raw need,” says Pump-
spotting founder Amy VanHaren, reflecting on the net-
work of mothers that pep-talked her through two rounds
of breastfeeding—a time when, as a traveling entrepreneur
tasked with overnighting breast milk home to her in-
fants, she was Googling dry ice, crying in bathrooms, and
pumping between businessmen on flights. Just a few years
later, those pain points have already seen attention from
a crop of fem-tech companies, with Milk Stork, based in
Palo Alto, California, handling door-to-door shipping
on behalf of working mothers; Mamava lactation pods
stationed in airports and museums; and new breast-pump
designs, such as the cordless, bottle-free Willow.
The flourishing of these and similar start-ups is partly
due to a recalibrated Silicon Valley, an outgrowth of a
broader reckoning with the gender biases amid ven-
ture-capital funds and other institutional forces. And
it’s partly a facet of the rising #normalizebreastfeeding
movement, a hashtag that has amassed nearly 700,000
posts on Instagram. What counts as normal these days?
A John Legend post showing his wife, Chrissy Teigen,
pumping in the car to the tune of a million-plus likes;
Illinois senator Tammy Duckworth taking her new-
born to work following a landmark rules change in
congressional procedure; Nigerian-American model
Adaora Akubilo Cobb breastfeeding her son in a viral
Gap ad. “Culturally we’re in a time where there are a lot
more conversations about the need to support women,”
VanHaren says, “and the breastfeeding space is clearly
an important part of that.”
For a manner of nourishment that is biologically or-
dained, breastfeeding has long been subject to societal whims. In the
H E A LT H
early twentieth century, nursing one’s own baby was often a barometer
of class: The poor did; the wealthy demurred, turning instead to wet

© VIN C EN T FER RANE /MODDS –C PI SYN DICATIO N

Milk Made
New start-ups are bringing high-tech design
and next-gen advocacy to the most basic
nutrition there is.
nurses and manufactured infant food. In 1956, the year that Vogue
ran Irving Penn’s soft-focus photograph of a breastfeeding woman (a
secular Virgo Lactans scene titled “The Miracle”), La Leche League
held its first meeting in an ongoing push to put breast milk back on
top—a counterweight to the mid-century gleam of packaged meals.
Misleading marketing of baby formula stirred worldwide controversy in
the seventies and eighties, even as its popularity held ground. But when
breast-pump industry leader Medela introduced its first H E A LT H > 3 5 4
FOOD AS MEDICINE
A REAL-TIME FEEDBACK LOOP CONNECTS BREAST AND BABY, WITH MILK SUPPLY
EVOLVING TO BEST SUIT AN INFANT’S NUTRITIONAL NEEDS AND IMMUNE SYSTEM.

352 SEPTEMBER 2018 VOGUE.COM

VL IFE
electric home-use device in 1991, working women found themselves was front of mind at the second Make the Breast Pump Not Suck
more easily able to keep up their milk supply without being tethered Hackathon, hosted by the MIT Media Lab in April. The idea for
to an infant. Still, freedom often meant pumping, grudgingly, in odd the inaugural event, in 2014, came to the project’s executive director,
places, while women who chose to nurse endured tsk-tsks or leers. Catherine D’Ignazio, while she was unceremoniously pumping on
Nevertheless, women persisted—encouraged by emerging science the Media Lab’s bathroom floor. (They soon installed a Mamava
that continues to underscore the benefits of breast milk. “What we prototype.) Since then, there’s been a fairly steady—if high-end—
know from a research standpoint is that human milk affects every stream of innovation. “The world we want to create is not the world
single organ in the baby’s body,” says Diane L. Spatz, Ph.D., a pro- of the $1,000 breast pump,” says D’Ignazio, who, along with Jennifer
fessor of perinatal nursing at the University of Pennsylvania School Roberts, an educator and advocate, made sure to include designers
of Nursing and the director of the lactation and specialists from far-flung, underserved
program at the Children’s Hospital of Phila- communities at this year’s conference. In-
delphia. Recent studies show that a real-time “The world we want to digenous women from New Mexico sought
feedback loop connects breast and baby, with ways to adapt ceremonial dress for nursing;
milk ever-adapting to suit individual needs— create is not the world of the a group from the New Orleans Breastfeeding
whether it’s extra nutritional heft for a preterm $1,000 breast pump,” says Center proposed a waterproof lactation kit
infant or antibodies to fight off infection. (containing tips for hand-expressing milk,
Along with lactoferrin (a key protein for gut Catherine D’Ignazio of the a cooler, and LED lights) for disaster relief.
health), beneficial microbes, and even unique need for broad innovation But the topic at the forefront of attendees’
sugars to feed those microbes, breast milk minds was not a product but a policy: paid
contains rare stem cells that are thought to leave. (Ours is the only industrialized nation
boost neurodevelopment. “You can be formula-fed and turn out OK,” without it.) In lieu of a federal mandate, some states are picking up
Spatz says, but she argues that broader support for breastfeeding— the slack; in the sixteen years since California passed a provision
particularly in the first few days after childbirth, a critical window guaranteeing six weeks of leave (a number that jumped to twelve
for establishing a latch and stimulating milk production—would go weeks as of January), median breastfeeding rates there have doubled.
a long way. Sure, it can be a grind—or, as comedian Ali Wong calls But with an estimated 25 percent of American mothers returning to
it, a “savage ritual that just reminds you that your body is a cafeteria work within ten days following childbirth—a punishing statistic—it’s
now!” It can also be physically painful, emotionally draining, and, for easy to see why some call breast milk a luxury good. Confronting
some, frustratingly impossible. But mammals, defiant, are we. that reality is a starting point for meaningful change, says Roberts.
Facts and hashtag lactivism only go so far, and only reach so many “When you design for the people who need it most, everybody is
people. Addressing the existing gaps in the breastfeeding narrative taken care of.”—LAURA REGENSDORF

T RAV E L

TheVolcano Lovers
Tourists have long flocked to
Chile’s Mars-like Atacama Desert
or to wind-whipped Patagonia, but
when locals want to get away, they
almost always end up in scenic
Pucón—a small resort town at
the center of the country’s Lake
District. Located midway through
the sliver that is Chile, the region
is famous for its sapphire- and
cerulean-blue pools (formed by
rivers descending from the Andes)
that reflect the snow-dusted peaks
of volcanoes nearby. This dramatic
backdrop made it a perfect location
for andBeyond’s latest expansion
Setting up camp just 25 minutes
outside Pucón, andBeyond Vira Vira
is situated between the towering
Villarrica volcano and the Liucura
River. Twelve mid-century-style
wood-paneled villas are decorated
with woolly linens and local curios
for an authentic sylvan charm.
Outside the hotel’s premises, you
can soak in the geothermal springs
with steam-veiled views of Villarrica,
hike through the evergreen Valdivian
rain forest, or visit the nearby textile
workshop run by the indigenous
Mapuche tribe. When temperatures
drop at the end of the day, your
COU RTESY OF AN DBEYO ND

out of Africa, where the travel villa’s outdoor tub beckons, best
company has established itself as enjoyed with a glass of wine,
the go-to purveyor of deluxe safaris. Chilean, of course.—LILAH RAMZI

LAKE LIFE
PERCHED ATOP A HORSE OR SEATED FIRESIDE, ANDBEYOND VIRA VIRA OFFERS
MANY WAYS TO TAKE IN THE WATER VIEWS OF PUCÓN.

354 SEPTEMBER 2018 VOGUE.COM

VL IFE
OPEN TO ALL
MODEL ADUT
AKECH WEARS AN
ALANUI HOODED
COAT ($4,130),
SWEATER ($1,940),
AND PANTS ($900);
SAKS FIFTH
AVENUE, NYC.
CHLOÉ BOOTS.
PHOTOGRAPHED BY
DAVID LURASCHI.
FASHION EDITOR:
ALEX HARRINGTON.

TRAV IS KIEWE L AN D RO BE RTO JAV IER SOSA FO R TH AT ONE PRODUCTION . DETAILS, S EE IN THIS ISSUE.
HAIR, RAMO NA ESC HBAC H; MAKEU P, FARA HO MIDI. S ET DES IGN, K ADU L ENN OX; PRO DUC E D BY
FAS H I O N
Star Spangled
While knitwear label Alanui is based in Milan, its foray this fall into
dressing us head-to-toe embraces a glittery, glam-rock Americana.

TWO YEARS AFTER LAUNCHING their brand centered on a single
staple—a belted cashmere cardigan with free-spirited, boho-chic
vibes—Carlotta and Nicolò Oddi, the stylish siblings behind Alanui
(“large path” in Hawaiian), are going all-in with a full line of ready-
to-wear inspired by the West Coast’s golden era of the late sixties and
early seventies—“a time and a place that has become recognized as a
symbol of freedom and self-expression,” says Nicolò. “Those were the
years when conventional values were destroyed by strong and power-
ful energies from a young generation that saw music as the vehicle to
affirm new statements.”
The pair returned to Los Angeles—in many ways the birthplace of
the brand, though the Oddis hail from Monza, in northern Italy—to
seek inspiration for fall at their favorite haunts: They bargained at
the Rose Bowl Flea Market, shopped vintage in Silver Lake, hiked in
Topanga, and surfed in Malibu. Those touchstones boiled down to
a collection of leopard Lurex knit trousers, felted and hooded coats,
jacquard jumpers, reversible paisley-printed bomber jackets, and, of
course, star-spangled signature cardigans. It’s all rife with a glam-rock
sensibility—and underscored with a hand-sewn American flag sourced,
by Carlotta, from vintage bandannas.—RACHEL WALDMAN

356 SEPTEMBER 2018 VOGUE.COM

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For the full itinerary, visit indagare.com/AD or call 212-988-2611.
 VL IFE
WELLNESS
Raising Ayurveda
A new guard of entrepreneurs seeks to reposition an ancient tradition for today.

RITUAL THINKING
Those tuning into meditation apps or jump-starting their mornings
with lemony hot water are engaging with Ayurveda whether they
know it or not. The millennia-old South Asian well-being philosophy
(translated from Sanskrit as the “science of life”) is finding a
mainstream foothold, with a calibrated approach to keeping the
body and mind in check—and Instagram-friendly packaging and
experiences. “We are about making it contemporary,” says Uma Oils
founder Shrankhla Holecek, who is partnering with Equinox this fall
VANA MALSI
on a eucalyptus-scented oil and candle that nod to the expertise ESTATE, IN
of generations of Ayurvedic physicians in her family. Meanwhile, UTTARAKHAND,
INDIA.
destination spas are revisiting the classics. Herb-infused Ayurvedic
treatments are on offer at the recently opened YO1 Luxury Nature
Cure, in New York’s Catskills region; the Art of Living’s Shankara
Spa, inspired by Sri Sri Ravi Shankar, hosts weeklong Panchakarma-
cleanse retreats in Boone, North Carolina. Or submit to white glove–
level rebalancing at the serene Vana Malsi Estate, in the northern
Indian state of Uttarakhand.

SPICE MARKET
If you’ve noticed a rush on “golden-milk lattes” at your local coffee shop,
you’re not alone. Turmeric, an ingredient prized in Ayurvedic cooking, has
earned trending status for its anti-inflammatory benefits and marigold-
yellow color. It’s at the core of Diaspora Co.—a direct-trade spice company
run by Sana Javeri Kadri, a social media–savvy 24-year-old living in Oakland,
California—and a mainstay in East by West, British food personality Jasmine

C LOC KWIS E FRO M FAR LE FT: COURTESY O F GO LDE . COU RTESY OF VAN A. COURTESY O F UMA OILS.
Hemsley’s compendium of healing recipes, which lands Stateside this
month. It also anchors Golde, the popular Brooklyn-based golden-tonic line
created by wellness enthusiast Trinity Mouzon Wofford. For her, Ayurveda’s
proliferation outside Indian circles is less about commodifying tradition than
about opening up a conversation. “When you look at the wellness space,
you’ve got the crunchy-granola vibe and then you’ve got the response:
luxury, sexy, minimalist,” says Wofford, who sees plenty of room in between
for ready-to-make ease and approachability.
TURMERIC-LACED
GOLDEN TONIC
BY GOLDE.

PIONEER WOMAN
All of this increased engagement signals to Pratima Raichur that Ayurveda’s INGREDIENTS FOR
global moment is now, in pantries and at the beauty counter. “This is how we UMA OILS ARE
HAND-HARVESTED
are able to keep these traditions relevant,” says the Mumbai native, 79, who ON THE FOUNDER’S
opened Pratima, her New York spa, in 1985, with a lineup of small-batch skin FAMILY ESTATE.
care based on years of Ayurvedic study. (She avoided the A-word at the time,
after a beauty editor suggested she was decades ahead of the curve.) Later
this year, her beloved range will be reborn as a thirteen-piece collection, with
eye-candy packaging by the collage artist Britt Berger. The products leverage
Ayurvedic botanicals, such as the vitamin A–rich plant Trayman Rhizome;
edible herbal blends address digestion, stress, and even infertility. The line
joins an influx of turmeric face masks, rose waters, and amla-berry balms, via
brands like Sahajan and 8 Faces, touting the A-word in plain sight.—PRIYA RAO

360 SEPTEMBER 2018 VOGUE.COM

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VL IFE

BEAUTY

Screen Queen
Lil Miquela has upended
the fashion-influencer game.
She just might shake up the
beauty industry, too. So what if she’s
not real? By Naomi Fry.

HERE ARE A FEW things I learned

about Miquela Sousa—the nine-
teen-year-old, Los Angeles–based
Instagram influencer, model, and
musician—when I Gchatted with
her this summer: Music is her “first
passion,” and the recording studio is
where she spends most of her days
(“getting in my feelings. LOL”); the
young left-wing politician Alexan-
dria Ocasio-Cortez is “a big inspi-
ration” to her right now; style-wise,
she is a “tomboy with a bit of high-
school flair” who still appreciates “a
femme day,” loves “anything Raf,”
and thinks “Virgil’s Louis show was
beautiful”; she’s considering doing
makeup tutorials because it’s a great
way to “learn and educate,” goals that
are important to her as a beauty icon
for a new generation. Unsurprisingly,
she’s into the new Drake album.
So far, so familiar: Sousa, or Lil
Miquela, as she’s known to her
million-plus Instagram followers,
seems the quintessence of up-to-
the-moment Gen-Z Zeitgeist, the
kind of person who peppers her
REALITY BYTES social media with, as she tells me, “some selfies and some activism,”
THE NINETEEN-YEAR-OLD
and doesn’t see any particular need to make a hierarchical distinction
DE TAILS, S EE IN THIS ISSU E

MODEL AND MUSICIAN (IN

ALEXANDER MCQUEEN), between the two. Physically, too, Lil Miquela appears to land in the
CREATED BY THE TECH
START-UP BRUD, HAS A center of a Venn diagram of 2010s beauty ideals. Of Spanish-Brazilian-
“TRAVEL” SCHEDULE THAT American descent, she is pretty and slim but not too skinny, with pouty
HAS INCLUDED RUNWAY
SHOWS, BEAUTYCON, AND lips, light-brown, lightly freckled skin that’s never spackled with too
NOW A VOGUE SHOOT. much foundation, and blunt-banged straight hair, often arranged in
FASHION STYLIST:
LUCINDA CHAMBERS. quirky Princess Leia–like buns. She is distinct enough B E A U T Y > 3 7 0

368 SEPTEMBER 2018 VOGUE.COM

COLOR NOT
COVERING VL IFE
GRAYS AS to be memorable but not so distinct as to be
threatening—a perfect, sufficiently edgy peg
her feed between Young Thug memes, screen-
shots of #familiesbelongtogether Tweets,
PROMISED? for youth-friendly brands and causes. (Having
a signature hairstyle, she explains, provides
and links to GoFundMe pages that support
progressive organizations. To encounter the
her with a measure of security against so- Lil Miquela phenomenon is to confront the
called haters, since “the internet can be cruel,” Uncanny Valley of liberal, upper-middle-class
but for her first Vogue shoot, she was willing metropolitan American lifestyle—shadowed
to step out of her comfort zone to debut a by encroaching political strife but never truly
new look—long and straight—exclusive to affected by it. She feels good and looks even
these pages.) better, which was not lost on the makeup art-
The on-the-nose-quality of Lil Miquela ist Pat McGrath, who selected her earlier this
No gray left behind. As promised. begins to make more sense, though, when year as a #McGrathMuse for her self-titled
Plus all the nourishment of Nutrisse. one realizes that she is, in fact, not a real per- line, saying that she was “so shook” to be
son but a computer-generated creation. She working with the young influencer. And this
is Frankenstein’s monster if he’d achieved a is likely why a YouTube channel of beauty
bikini body on a juice cleanse and wore Vete- tutorials taught by Lil Miquela isn’t such an
ments, JT LeRoy without the blonde wig, inconceivable idea—one that could catapult
dark sunglasses, and tortured psychodra- her straight into the product-development
ma—in other words, the artificial brainchild lab and to the status of other recent moguls
of others, who in her case are said to be the of the sphere, like, say, Kylie Jenner, who this
millennial creatives Trevor McFedries and summer appeared on the cover of Forbes
Sara DeCou, of an enigmat- magazine, poised to become
ic L.A.-based tech start-up “the youngest-ever self-made
called Brud. (The company, A YouTube billionaire,” thanks in part to
while not the only one de- channel of beauty her cosmetics empire.
veloping CGI personae, is As I typed out another
widely considered the pio- tutorials taught interview question from
neer; its roster also includes by Lil Miquela the comfort of my quite
a face-tattooed guy named real Brooklyn apartment,
Blawko, who is still climbing isn’t such an dressed in perhaps all-too-
the ranks with 112,000-plus inconceivable real Adidas track pants and
followers.) a baggy T-shirt, I found
Since the debut of the idea—one that myself fascinated with the
Lil Miquela Instagram in could catapult idea of a CGI character, no
April 2016, the project has matter how attractive, cre-
been carried out with an her straight into ating a beauty line. At times
impressive meticulousness the product- I actually forgot that I was
that hits all the latest taste communicating with a per-
and culture notes—showing development lab son who does not actually
the influencer hanging at the exist in real life—or IRL, in
Kanye-approved luxury grocery store Ere- internet parlance. It would likely be fun, I
Available in 8 Shades whon, shopping at the offbeat L.A. boutique mused inwardly in an unguarded moment,
Virgil Normal. The account has aroused the to “hit up” the young influencer the next time
ire of purists set on critiquing our social I traveled to L.A., as she suggested, and go
media–obsessed, hyper–face filtered world, to LACMA or the La Brea Tar Pits (“It’s a
NOURISHED HAIR, and simultaneously attracted high-fashion trip,” she promised me). But every so often,
brands, such as Prada (Lil Miquela took there was a long pause, and I would suddenly
ULTRA COVERAGE over the Italian house’s Instagram for its imagine a group of well-dressed, streetwear–
fall collection, which she also “attended”) and nineties nostalgia–obsessed creatives
and the activewear line Outdoor Voices, huddling around an iMac in Eagle Rock
FROM THE for which she served as campaign star, all or Silver Lake or Mid City, consulting with
#1 NOURISHING eager to embrace a figure claiming to dis- one another about how to respond. What is
rupt the once-homogeneous fashion and Miquela’s beauty routine? Does she really
COLOR CREME * beauty spaces with a seemingly post-racial, have thoughts about starting a green makeup
post–sample size persona. line? What music does she like to listen to?
Images of Lil Miquela’s symmetrical fea- Who is she dating? Perhaps, to paraphrase
tures, etched with geometric black eyeliner Freud, this is the great question that has yet to
garnierUSA.com or a slash of yellow eye shadow, easily slip on be answered: “What does Miquela want?”

*Based on Nielsen xAOC 2017 Unit Sales

© 2018 Garnier LLC. 370 SEPTEMBER 2018 VOGUE.COM
 FALLING into

STREET STYLE
FROM THE RIVE GAUCHE TO THE AMERICAN WEST TO YOUR
LOCAL VINTAGE STORE, FASHION THIS SEASON IS WHERE YOU FIND IT.
FRENCH-GIRL STYLE
Remember when Audrey Hepburn, playing
a chauffeur’s daughter in Sabrina, went to
Paris and came back to Long Island a model
of sophistication and polish? Who among us
has not dreamed of channeling the legendary
allure of the quintessential French girl with
the élan of Françoise Hardy, the offhand cool
of Charlotte Gainsbourg, the sultry street
stylings of girl of the moment Jeanne Damas?
No matter where you live, the skill with which
a Parisienne ties her scarf and the insouciant
way she pairs a classic striped marinière shirt
with trousers that flaunt just the right amount
of flare—and flair—continue to enchant.
Even all-American classics like jeans can cross
the Atlantic with panache: Just add a chic
short-handled bag, tuck in a perfectly fitted
pullover, and gaze out from a pair of dark,
seductive shades.

SPONSORED BY
STRE E T STYL E: SANDRA S EMBURG. STILL LIFES: COU RTESY O F B RANDS.

MARK CROSS BAG. MAISON MICHEL HAT.


RIGHT: AMERICAN EAGLE DENIM JACKET.
CALVIN KLEIN 205W39NYC SKIRT.
Who doesn’t, now and
WESTERN
then, want to be a cow-
girl? The lure of the Wild West and its great
open spaces can tug at your heartstrings and
make you reach for those Vetements cowboy
boots—even if you live in a tiny apartment
with three roommates in the wilds of Wil-
liamsburg, Brooklyn. It’s not just about den-
im—though no one would deny the power of,
say, a jean jacket, emblematic of the American
374 SEPTEMBER 2018 VOGUE.COM
FALLING into STREET STYLE
Dream for more than a century. So face the
falling temperatures by wrapping yourself in a
stylish striped blanket, the way Marni suggest-
ed at their most recent runway show—or blast
away the blues with a mélange of patchwork
straight from Calvin Klein’s catwalk. When
night falls, don an ankle-skimming prairie
dress, add an armload of silver-and-turquoise
bracelets, and sidle up—OK, take an Uber—
to your favorite watering hole.
 FALLING into
VINTAGE GLAMOUR
In the bad old days, edicts regarding the sea-
son’s styles came down from on high, and
the styles of the past were consigned to the
dustbin of history—or the Goodwill. Now we
glory in the sartorial triumphs of yesteryear:
bustiers worthy of Madonna; slip dresses
that could have been retrieved from Courtney
Love’s capacious closet. The trick, of course,
is to rock iconic fashions with a modern twist.
A gauzy neo-Victorian frock takes no prison-
ers when it is paired with a men’s suit jacket;
STREET STYLE
BOTTOM LEFT: JONATHAN SIMKHAI
STRE E T STYL E: SANDRA S EMBURG. STILL LIFES: COU RTESY O F B RANDS.
SKIRT. AMERICAN EAGLE CROPPED
TOP. LE PETIT TROU MULE.
floral-print trousers with a 1970s air spring
to brilliant life when combined with yet more
flowery patterns. Sometimes this retro excite-
ment can be unearthed at the nearest vintage
shop, but you’ll also discover it in the collec-
tions of major designers: Junya Watanabe
proposed frocks worthy of a prewar garden
party; Marc Jacobs took us on a wild ride in
’80s-redux jewel tones; and Tom Ford dared
us to don zebra leggings and shirts that read
90210. Paging Brenda, Kelly, and Donna!
ON THE EDGE OF NUDE
BECAUSE YOU’RE WORTH IT.™

DUCKIE THOT
©2018 L’Oréal USA, Inc. WEARS BOLD MAUVE
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BEAUTY

PA R I S : PHI L OH. S EOUL: A LE X FI NC H. NEW YOR K: SA ND RA S E M BURG. EY E S HAD OW: COURTESY OF

M A KE BE AUTY. LACQUE R : COURTESY OF S E PHORA . M ASCA RA : COURTESY OF L’ORÉ AL PARIS.
BORDERS
Pinging around the globe at the speed of Instagram, the latest beauty looks are no longer
confined to the roped-off runways. Here, a street-style map of the season’s boldest statements.
S E O UL

N E W YO R K

PRODUCTS, CLOCKWISE FROM TOP: MAKE BEAUTY SATIN

FINISH EYESHADOW IN GREENLAND; L’ORÉAL PARIS
VOLUMINOUS MASCARA IN DEEP BURGUNDY; SURRATT
PA R I S
BEAUTY LID LACQUER IN SATOU UME.

| Radical Gaze
In seemingly every fashion hub, on-trend eye makeup has become a visionary study
in exuberant gesture and precise—but never too perfect—technique. On Parisian cat-
walks, Crayola-bright colors dress up models’ lids in bold monochrome streaks or dou-
ble-take-worthy combinations. In Seoul, inky wings deliver a piercing neo-goth payoff,
while New York’s frosty smudges mirror its cool-as-ice street scene. Off the runway
circuit, It girls and Instagram artists are turning eyelids into crescent-shaped canvases,
using the latest array of sparkling metallic paints, liquid-smooth liners, and hyperpig-
mented powders to their creative advantage. And why not? Set against the requisite
dewy, bare skin of the moment and an understated flesh-toned lip, even an abstract
swipe of shadow can morph into a masterpiece of chromatic self-expression.

SPONSORED BY

380 SEPTEMBER 2018 VOGUE.COM

 BEAUTY BEYOND BORDERS

S YD N E Y

TBILISI

PRODUCTS, FROM LEFT: L’ORÉAL PARIS FÉRIA

HAIR COLOUR IN PURPLE SMOKE; HUSH PRISM
NEW YORK
AIRBRUSH SPRAY IN TEAL BREEZE.

|Electroclash Hair
S E MBURG. HAIR CO LOR: COURTESY O F L’O RÉ AL
TB ILIS I, SYDN EY, AN D NEW YO RK: SANDRA

PARIS. S PRAY: COU RTESY OF S E PHO RA.

promise a kaleidoscopic fling that packs a short-term punch.

 BEAUTY BEYOND BORDERS

M ILA N

PA R I S

LONDON

MILAN AND LONDON: SANDRA SEMBURG. PARIS: CHRISTIAN VIERIG/

GETTY IMAGES. POWDER: COURTESY OF CLÉ COSMETICS. LIPSTICK:
PRODUCTS, FROM LEFT: CLÉ COSMETICS MELTING LIP POWDER IN RED CHERRY; L’ORÉAL PARIS COLOUR RICHE ULTRA MATTE

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HIGHLY PIGMENTED LIPSTICK IN REBEL ROUGE. BACKGROUND: IL MAKIAGE RAVE SUPER SHEER LIP COLOR IN BALI.

|Power Pouts
No matter the current beauty climate, one undisputed all-star remains at fashion’s fore-
front: an ever-dramatic ruby lip. The unshakable reign of red—in permutations from
poppy to deep scarlet—speaks to its powerhouse reputation; just as important is the
ability to complement the full spectrum of skin tones, not to mention personal tastes.
Punctuating London’s prep-school sweaters with the same oomph as Paris’s strappy
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all its timeless appeal, color now arrives by way of futuristic formulas. Intense mattes are
delivered in a classic lipstick bullet (no blotting required); from there, it’s a playground of
experimental powders, long-wear crayons, and magnifying, mirror-finish glosses. A cus-
tomized mouth lies in your own clever execution.

382 SEPTEMBER 2018 VOGUE.COM

 BEAUTY BEYOND BORDERS

BE R L I N

LOS ANGELES

MILAN : AC IE LLE /STYL EDU MO N DE .CO M. B E RL IN: JOANNA TOTO LICI. LOS ANG E LES: F RAZE R HARRISON/
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In lockstep with today’s come-as-you-are hair revolution, a parade of corkscrew
curls, windswept waves, and cloudlike fuzzy spirals has swept the streets from Ber-
lin to Los Angeles. At the fall shows, houses like Gucci and Givenchy left born-with-it
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to match the levity of the moment. For people whose curls come naturally (if defiantly),
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heat-protectant hot tools are making it even easier to heed the bigger-is-better call. Just
like the season’s oversize outerwear, a statement silhouette is the hair move to beat.

384 SEPTEMBER 2018 VOGUE.COM

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LIVING
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CITY
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Lavishly illustrated, this beautiful book features stories from the pages of Vogue
with more than thirty unique homes and gardens whose
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 September 2018

New
.
HorızonsThis September we’re taking you on a whirlwind—and
impossibly stylish!—world tour. But don’t bother packing your
passport. This odyssey is all thanks to the globally minded
designers who simply refuse to see borders—from Karl Lagerfeld
to Hedi Slimane, Stella McCartney to Jun Takahashi,
Riccardo Tisci to Demna Gvasalia. Yet for all of this intrepid
traveling, the final destination always remains the same:
your closet. This fall, here’s what you’ll want to take along for the
ride: one of the new coats, strong on design, rich in detail; the
electric-bright “tech” colors, not traditionally autumnal but perfect
for the year-round wardrobes of right now; and any one of the
chic (and surprising) ways to go head first. The whole season, in
fact, takes us to unexpected places. You might call it a trip.

499
ALL AROUND THE WORLD
FROM LEFT: Model Anei Dut;
entrepreneurs Paola Mathé
(in a Ralph Lauren jacket
and Philosophy di Lorenzo
Serafini dress) and Leila
Janah (in Péro by Aneeth
Arora); social entrepreneur
Jordan Hewson (in a
Sacai jacket and Dior
skirt); model Adut Akech
(in Isabel Marant); musician
Devonté Hynes a.k.a. Blood
Orange (in a MSGM jacket
and jeans), and bookstore
owner Sarah McNally
(in Loewe). Menswear
Editor: Michael Philouze.
Fashion Editor:
Camilla Nickerson.
 Here, There,
Everywhere Fashion has never
been more celebratory
of global diversity
and influence, as the
best fall looks—and
a visionary group
of boundary-defying
designers—ably prove.
Photographed by
Mikael Jansson.
FAST FRIENDS
FROM FAR LEFT: Olympic
bronze-medalist
ice dancers Alex (in
Coach 1941) and Maia
Shibutani (in a Michael
Kors Collection
sweater), art dealer
and curator Lolita Cros
(in Stella McCartney),
model Hoyeon Jung (in
a Missoni dress), and
singer-actor Troye Sivan
(in Saint Laurent by
Anthony Vaccarello).

503
 KARL LAGERFELD MIGHT BE the original boundary-breaking
fashion designer. Raised in bourgeois comfort in Hamburg, he set off
for Paris and Pierre Balmain’s studio when he was a teenager and his
work caught the attention of the couturier. Soon bored at Balmain,
he left to become the head designer at the staid house of Jean Patou,
but he was soon bored there, too, and, disillusioned with the world
of the haute couture, left for Rome to study his favorite composer,
Bellini. In 1965, however, he met the quintet of formidable Fendi
sisters: By his own estimate, he has since traveled to Rome 800 times.
In 1982, Alain Wertheimer hired Lagerfeld to revamp Chanel. “When
I came to Chanel, I said to Mr. Wertheimer, ‘Let’s make a pact, like
Faust with the Devil,’ ” Lagerfeld says. “But we don’t know who is the
Devil and who is Faust.”
In 1992, when the supremely erudite Rosamond Bernier went to
call on Lagerfeld, she noted that the designer owned seven houses in
four countries, each furnished with museum-quality antiques, state-
of-the-art contemporary commissions, and a quarter of a million
books. Now he lives with his beloved cat, Choupette, surrounded by
the tools of his work and food for his mind.
“I have so much to do that I’m not so much for traveling anymore,”
Lagerfeld says. “For Chanel alone I do ten collections, and I do it all
myself, all the sketches.” Those Chanel projects include showcasing
the Métiers d’Art collections around the world, drawing attention to
the skills of the great fashion fournisseurs that Chanel has acquired to
ensure their survival—among them the embroidery house of Lesage,
the feather-and-flower establishment of Lemarié, shoemakers Mas-
saro, and milliner Maison Michel—and initiating the trend for exotic
destination presentations. After forays to Mumbai, Salzburg, Dubai,
Seoul, Havana, Singapore, and Linlithgow, in Scotland, Lagerfeld
staged a triumphant homecoming in Hamburg last year.
Savagely unsentimental, relentlessly un-nostalgic, he remains, in
his ninth decade, fueled by his insatiable curiosity and a passion for
the present and the future. “I have a strong survival instinct,” he says.
—HAMISH BOWLES

Karl
Lagerfeld
Photographed by
Annie Leibovitz

TOP OF THE HEAP

Lagerfeld and his Birman cat,
Choupette, at home in Paris.
505
Marine
Serre Photographed by
Olivia Arthur
IT’S A BROILING HOT JULY DAY IN PARIS, and the electric fan valiantly
whirring away to cool down Marine Serre’s studio has its work cut out
for it. Yet Serre doesn’t seem unduly bothered. Her five-foot-nothing
frame is clad in a billowing dress, and she’s sipping water from a tumbler
not much bigger than a shot glass. But then, heat is something that she
has had to get used to lately. While this 26-year old Marseilles native has
only been in business for about a year, she now has fifteen employees,
70 retailers, one LVMH prize, and three collections to her name. “A
year ago I was in school and couldn’t even pay for my apartment,” she
says. “But I’m not scared, because I have nothing to lose.”
Serre’s audacious runway debut this past February upended
clichéd notions of beauty and power by the way she slyly shot her
looks through with political and sexual commentary: riotously
patterned vintage scarves upcycled into dresses; sick, slick, fetish-y
PVC coats; head-covering bodysuits dotted with her crescent-moon
logo, a look equal parts high-performance athleticism and modest
observance. Each of them was imbued with Serre’s exacting, fearless
attitude—“One-meter-fifty, but a will of steel” is how Karl Lagerfeld
once described her. “I think we need to be a little aggressive in a way,
because things are so stuck,” she says. “If you keep doing things the
same way, nothing will change.”
Those scarf dresses are a case in point. Serre had to work hard to
persuade her factories to make them, given their technical complexi-
ties, and she relished the David and Goliath aspect of it. “The biggest
challenge for a young designer now is learning to take care of yourself
so you can be sharper,” she says, “because we have to be as quick as the
big houses.” When she sold those dresses, though, she didn’t make a
whole song and dance about the upcycling. “I don’t want to confuse
Marine Serre with a brand that wants to make money doing green
stuff,” she says. “Everyone should be caring about that already, because
otherwise fashion is going to die anyway.”
It’s that stance—pragmatic in its progressiveness—that underscores
Serre’s approach to everything she does. She’s of a generation that
grew up with the world always at its fingertips thanks to technology.
Social media’s periscope into far-flung destinations—not to men-
tion her own peripatetic moves from Marseilles to Brussels and now
Paris—has allowed her to honor cultural differences while celebrating
what’s common to all of us. She recently took a work tour of Asia, and
while she was struck by the rush of the new, it was the universality of
life that captivated her. Likewise, Serre has been thrilled by how her
moon leitmotif has traversed from continent to continent, each time
interpreted—and appreciated—differently. “I think it’s quite symbolic
with what is happening today,” she says. “There shouldn’t be boundaries
when we’re making fashion.”—MARK HOLGATE

FIT TO PRINT
Serre (in yellow scarf) with a bevy of colleagues and
collaborators (including her boyfriend and general manager,
Pepijn van Eeden, to her left, in red sweater) in Brussels.
PHOTOG RA PHE D BY OLI V I A A RTHUR OF M AG NUM PHOTOS
MIX AND MATCH
FROM LEFT: Model
Andreja Pejić (in Gucci)
and actor Deepika
Padukone (in a Michael
Kors Collection jacket
and skirt) play with
patterns in Brooklyn.
LAYERS OF LEARNING
FROM FAR LEFT: Model
Khadijha Red Thunder
and actor Amandla
Stenberg stand tall
in free-flowing frocks
by Etro (on Red
Thunder) and Coach
1941 (on Stenberg).
SISTER ACT
Chloe (FAR LEFT, in
a Diesel Black Gold
dress) and Halle Bailey
(in an Isabel Marant
vest and Dôen dress),
of the singing duo
Chloe x Halle, started
on YouTube—and were
discovered by Beyoncé.
Adventure ensued.

511
 “IT’S GREAT TO BE back in London again!” says Riccardo Tisci as
he takes up the reins at Burberry. “There’s been such an incredible
evolution since I studied at Central Saint Martins nearly 20 years
ago—I really feel the change. But one thing that always remains in
this city is its diverse energy and incredible spirit. It’s what I loved so
much as a student, and it’s something that’s so important in my work
now at Burberry.”
Tisci could hardly be a better standard-bearer for the creative free
flow of talent, ideas, and trade that is fashion’s modus operandi: an
Italian, tutored in British-style individualism, who honed his couture
skills in Paris at the top of a luxury house (Givenchy, which he helmed
from 2005 to 2017) and is now chief creative officer of the biggest
British brand of all. He fits no mold except his own. “I consider myself
very nomadic,” Tisci says. “I have been so lucky and lived in so many
places, making a big family of friends and relatives along the way.”
In a time when identity politics have become embedded in
twenty-first-century consciousness, the fact that Tisci chose the image
of a unicorn to accompany him for his Vogue portrait reverberates
with resonances. Unicorns are symbols in both international pop
culture and medieval British history—while a unicorn emoji might
summon notions of a unique, wondrous, and sensitive person to
a Gen Z–er, to a British person it immediately reads as the mythic
beast on the lion-and-unicorn royal coat of arms of the United
Kingdom, a synonym for goodness and integrity that must be
defended in the world. It was also—according to Tisci’s archival
research—engraved on the Burberry family silver, presumably after
the working-class owners had risen to wealth on the manufacture
of check-lined trench coats.
Is this a picture meant to speak across generations? That would be
totally Tisci—and not just because he has a long track record of ranging
between haute couture and luxe streetwear. “Openness and breaking
down borders have always been very important to me,” says the quiet
revolutionary whose actions—in deeds, not words—made him a pioneer
in dissolving the white, young, thin, heteronormative homogeneity of
fashion and an opener of doors to every shade of gender and color
in his time at Givenchy. “I am proud and very fortunate to have been
able to champion progressive, strong, and forward-thinking people,”
Tisci says with a shrug. “This has always felt instinctive for me, and it
seems that it is becoming more and more natural and normal for the
whole industry now, too.”
It’s a way of thinking, working, and living that fits right into the

PHOTOGRAPHED BY MIKHAEL SU BOTZKY OF MAGNUM PHOTOS, PRODUCED BY 10-4 INC.

multicultural, LGBTQI-friendly ideals of the capital city, where Mayor
Sadiq Khan’s #LondonIsOpen campaign has been waving a defiantly
celebratory flag since the Brexit referendum in 2016. Tisci, of course, is
one of thousands of Europeans contributing to the culture of modern
British dynamism—albeit the one most visible in projecting it on the
global stage. “It feels very natural for me to be bringing the house’s
British heritage and style to people around the world,” he says. We
will see just how he does it at his reveal during this month’s London
Fashion Week.—SARAH MOWER

Riccardo
Tisci
Photographed by
Mikhael Subotzky

HORN OF PLENTY
Tisci and friend at the Shotover
House in Wheatley, Oxfordshire.
 AS A TEENAGER GROWING UP in a small town
north of Tokyo in the early 1980s, Undercover
founder Jun Takahashi was influenced mainly by
British youth culture. At thirteen, he was listening
to the Clash and the Sex Pistols. “I was shocked
by the pink-and-yellow cover of Never Mind the
Bollocks . . . ,” he recalls. “Visually shocked, and
also shocked by their music, which was more ag-
gressive than anything I had ever heard.” Though
Takahashi went so far as to become the lead singer
of a Sex Pistols cover band (“It was so bad,” he says,
wincing), he was particularly drawn to the “idea
or philosophy of punk—breaking the rules—but
also to different types of cultures that had a twist.
I was always attracted not just to the light but to
the shadow.”
In 1989, at the age of 20, Takahashi became rest-
less while studying at Tokyo’s prestigious Bunka
Fashion College. “I wanted to make something
original,” he says, “something unique or crazy that
the school didn’t teach me.” He admired the clothes
and accessories of iconoclastic British designers,
including Christopher Nemeth, John Moore, and
Judy Blame, which he saw in Tokyo’s Sector store.
“They broke the traditional rules,” Takahashi says.
“I wanted to mix all those different things— music,
low and high fashion, and fashion connected to
culture.” He founded Undercover by selling home-
made graphic T-shirts to his friends, and soon made
his first trip to London, where he befriended the
visionary streetwear promoter Michael Kopelman.
Encouraged by Rei Kawakubo, Takahashi finally
brought his holistic Undercover world to Paris in
2003, and he’s still riding the wave. After his re-
cent forays into intricate Elizabethan couture and
Cindy Sherman–inspired double-identity ensembles
(fully reversible and presented on identical twins),
Undercover’s spring 2019 womenswear collection
is elevating staples of a teenage wardrobe, while his
powerful men’s collection invented new tribes that
blended elements from the movie The Warriors
with autobiographical references to punk rock,
the New Romantics, and eighties stylist Ray Petri’s
Buffalo tribe. “I wanted to make different kinds of
‘tribal’—different kinds of clothes that show aspects
of my creation through these imaginary groups and
mixed races,” says Takahashi. “I can take cultures
from outside, mix them, and create something out
of it.”—HAMISH BOWLES

Jun
Takahashi
Photographed by Carolyn Drake
PH OTOG RAP HE D BY CAROLYN DRAKE O F MAGN U M PHOTOS

HITTING THE STICKS

Takahashi (CENTER, in black
T-shirt) at the seafood
restaurant Shiokaze in
Meguro City, Tokyo.
 RED ALERT
Model Gigi Hadid wears a skirt
by Nigerian designer Lisa
Folawiyo, who transforms
traditional West African fabrics
with innovative tailoring and
beads, crystals, and sequins.

BEST OF THE BEST

Grammy-nominated singer SZA
(in Miu Miu) and Olympic bronze-
medalist fencer Miles Chamley-
Watson (in a Prada polo shirt) are
both working on new projects:
Chamley-Watson is training for the
2020 Tokyo Olympic Games, while
SZA prepares her second album.

516
517
 Photographed by
Mark Power Demna
Gvasalia
“THIS STARS-AND-STRIPES JACKET, which represents the States,
is my favorite—because American culture is what I loved when I was
growing up.” The night before his Vetements show in July, Demna
Gvasalia paused to pull out a patchworked-leather bomber, then
turned it around and pointed to the slogan on the back. “What I like
is that it says america, but in Russian.”
No one in the designer fashion world understands more about the
human cost of what happens when neighbors fight over borders than
Gvasalia, who was twelve years old when he and his younger brother
(now his business partner) Guram had to flee their home during the
brutal civil war that overtook Sukhumi, Georgia, in 1993. “Everybody
today talks about war, refugees,” he says, “and I am like, yes—I know
exactly what that means.” One of the dresses in the spring show was
made from a single square of off-kiltered white cotton, a memory of
the bedsheets the family grabbed as they fled to bomb shelters before
eventually trekking across mountains under sniper fire. (Seen down
the long barrel of history, Georgia’s problems then were only a dress
rehearsal for the violent displacement of peoples across the Middle
East, Europe, and sub-Saharan Africa, which are the continual horrors
on our screens now.)
In his formative years, Gvasalia moved to Odessa (which is part of
Ukraine but has recently been in conflict with Russia) and Düsseldorf,
Germany, eventually studying fashion at the Royal Academy of Fine
Arts in Antwerp, Belgium. Now he works in Paris—since 2015, as
creative director of Balenciaga—and Zurich, where he chose to settle
with the Vetements team last year.
Since he took up residence in clean, calm, safely neutral Switzer-
land—well away from any of fashion’s main drags—Gvasalia has
PH OTOG RAP HE D BY MARK P OWE R O F MAG NU M PH OTOS

increasingly channeled his past traumas into positive creative energy.

National flags have been popping up in his work—in Balenciaga resort
prints, on Vetements parkas—but on an equal footing with the interna-
tional rainbow symbol for acceptance and love. A fake snowboarder’s
mountain was installed as the set for the fall Balenciaga show, and on
its crests and crevasses were multicolored graffiti—spray-painted,
Gvasalia claimed, with words he and his team had been throwing
around in the studio. Among the smiley faces and Balenciaga logos,
two slogans jumped out: be aware and no borders.—SARAH MOWER

SITTING UP AND TAKING NOTICE

Gvasalia at the Vetements atelier, a former
electronics factory in Zurich’s Binz district.
 TWIN TELEPATHY
Twin sisters Elektra (left, in
Calvin Klein 205W39NYC)
and Miranda Kilbey (in Paco
Rabanne), who comprise the
dream-pop duo Say Lou Lou,
split their time between Los
Angeles and Stockholm.

ACT MY AGE
FROM FAR LEFT: Actors Kiki Layne
(in a Johanna Ortiz dress),
Sophie Turner (in Louis Vuitton),
Dakota Fanning (in Gucci),
writer Sandra Uwiringiyimana (in
Dsquared2), and actor Madeline
Brewer (in Junya Watanabe
Comme des Garçons).
BEAUTY NOTE
Keep your blonde strands bright.
Wella Brilliance Shampoo and
Conditioner protects against color
fade while deeply nourishing hair.

521
Gosha Rubchinskiy
MOSCOW-BORN GOSHA RUBCHINSKIY, 34, surprised the fashion
world earlier this year by announcing the end—at least in its seasonal
capacity—of his namesake line. His many ardent fans, though, needn’t
worry—he’s got plenty in the pipeline: In July, Rubchinskiy opened a
skate shop in Moscow, Oktyabr, named after a Russian skate team, and
he’s further developing his skate line, Paccbet (pronounced rassviet—it
means “sunrise” in Russian), launched with skateboarder Tolia Titaev.
Rubchinskiy made major waves with his label, founded in 2008 and
later backed by Comme des Garçons, which delivered a singularly
cool viewpoint of Russian youth culture to a global audience. His
homeland-as-aesthetic muse—Cyrillic writing, tracksuits, clubwear
influenced by late-Soviet-era underground parties—depicted Russia as
a vibrant place with a community of people who share contemporary
values and lifestyles (an especially welcome message given that, in the
U.S. at least, recent Russia-related headlines told a rather different
story). “I am happy that voices in Russia from the fashion and artistic
BLOC PARTY
Rubchinskiy, center,
with a group of friends
near Oktyabr, his new
skate shop in Moscow.
Photographed by
Mikhael Subotzky
world may be becoming more recognized elsewhere,” says the designer.
“I don’t think any artist should be a spokesperson for a culture. I just
PHOTOGRAPHED BY MIKHAEL SUBOTZKY OF MAGNUM PHOTOS
want to express what I want to express—to be free.”
For his final three collections, Rubchinskiy staged runway shows in
three different cities: Kaliningrad (where he unveiled a collaboration
with Adidas in advance of this summer’s World Cup); St. Petersburg
(where a collaboration with Burberry dropped); and Yekaterinburg.
That last collection had the most interesting international touch of
all: tops and scarves with the connected flags of the U.S., Russia, and
Japan, all unveiled in the same place where the Kremlin’s nuclear
briefcase from the Cold War is on display.
While the designer’s next big move is still under wraps, Rubchinskiy’s
start-stop-start-again business model is true to a major trend of today’s
fashion system, where niches are exploding and limited product drops
rule the retail game. “If you aren’t thinking globally,” he says, “your
thinking is out of date. The world is a small place.”—NICK REMSEN
PHOTOG RA PHE D BY C R I STI NA D E M ID D E L OF M AG NUM PHOTOS
FANNING THE FLAMES “WHEN I TELL PEOPLE I’m from Cali, they
Ortiz in Cali, in think I mean California,” says designer Jo-
southwestern Colombia,
where she was hanna Ortiz. Trace a line about three and a
born and where her half thousand miles southeast of L.A. and
business is based. you’ll land on Ortiz’s actual hometown in
Colombia—a place that’s unofficially known
as the salsa capital of the world. There’s no
mistaking the tropical sway of her clothes,
either: Hothouse flowers and foliage are re-
curring leitmotifs in her collections, and the
tumbling ruffled asymmetric dresses that put
her on the map seem primed for dancing,
as do her new fringed Sevillian silk pieces.
(At a recent dinner for the designer in New
York, guests including Huma Abedin, Lau-
ren Santo Domingo, and Alexa Chung were
up on their feet twirling in the label’s swishy
party looks to the sounds of a live salsa band
before the main course had even been cleared
from the table.)
Photographed by
Cristina de Middel
Ortiz, 45, has been in business for fifteen
years, growing from a team of two to a buzz-
ing atelier of 380 employees, many of whom
have been with her for ten years or more.
(Helping to financially empower women
in her local community is a big part of her
mission.) She first gained an international
audience for her self-titled line after partner-
ing with Moda Operandi on an online trunk
show in 2014, and since then, social media
have helped to carry her name much farther
afield: Her brand has been geotagged at just
about every chic global hot spot you can
imagine. “Every night I go onto Instagram
to see all the women who have posted images
in my clothes,” Ortiz says. “It’s so gratifying
to see clothes designed and created in Cali go
all around the world. It might be someone in
the Middle East, China, or Europe—and they
all wear it in their own way.”—CHIOMA NNADI
Johanna
Ortiz
 STAYING POWER
Model Alek Wek (in a
Chanel blouse), at 41,
continues to work with
photographers she
was introduced to in
her 20s. “I’ve gotten to
evolve from a little girl
to a woman,” she says.
 ALTERNATIVE ACTIVISM
Comedian Hasan Minhaj (in a Dolce & Gabbana tuxedo) is at work on his own Netflix show, which
mixes humor and long-form investigative reporting—while Muslim fashion blogger Hoda Katebi (in
a Valentino dress) has started a sewing cooperative for refugee women in Chicago.

525
 STELLA McCARTNEY HAS ALWAYS been a
tree climber. Hers was an English-countryside
childhood spent riding horses and shimmying
up giant oaks. “I grew up being aware of the
seasons and the planet’s power and immen-
sity,” she says. And as McCartney learned
more about the harm caused by fashion man-
ufacturing, she began to approach all aspects
of her burgeoning namesake line ethically.
From its very beginnings in 2001, it has been
leather-, fur-, and feather-free—a fearless and
peerless stance in the early aughts, one moti-
vated by her personal choices as a committed,
lifelong vegetarian.
Climate change, of course, knows no
borders. At some point, McCartney’s sus-
tainable way of doing business will of ne-
cessity be the only way of doing business
in a world of shrinking natural resources.
But the designer, now 47, proved herself a
pioneer all over again when she announced
a collaboration with Bolt Threads, the Bay-
area biotechnology company that engineers
new fibers based on proteins found in na-
ture—in this case, silk made from yeast
rather than worms. Even more radical than
laboratory-made silk: McCartney’s habit of
telling her customers who come looking for
sustainability advice to rent clothes or to
buy vintage or secondhand (she’s partnered
Stella
MCCartney
Photographed by
Alessandra Sanguinetti
with the high-end resale site TheRealReal
on a first-of-its-kind recommerce project).
Going against the grain, in fact, is pre-
cisely how McCartney has carved out her
unique and—since buying the 50 percent
share of her company that had been owned
by the luxury giant Kering—newly indepen-
dent space in the fashion sphere. “I know
you can have a healthy business model in
this industry that isn’t using leather, isn’t
using PVCs, isn’t using fur; that tries to use
solar panels or wind power in stores around
the world. Working with and looking at
technology gives me some hope,” she says.
“How do you have children if you don’t
have some kind of hope?”
McCartney has two boys and two girls—
tree climbers, all of them—and she recently
spoke to her younger daughter’s class. “I talk-
ed about fashion, and I tried to keep it exciting
and glamorous—which it is. But then I started
talking about the Loop shoe”—an in-house
innovation that makes glue, which is typically
made from animal or fish bones, unnecessary.
Let’s just say she got their attention. “When
you’re young, you have different expecta-
tions of how to treat our fellow creatures and
how to respect the planet,” McCartney
says. “It’s their future we’re talking about.”
—NICOLE PHELPS
A DELICATE BALANCE
McCartney in a friend’s
garden in South
Hampstead, London.
Hair, Lewis Pallett;
makeup, Kirstin Piggott.
PH OTOG RAP HE D BY ALESSANDRA SAN GUIN E TTI O F MAGN U M PHOTOS
 Hedi
Photographed by
Anton Corbijn Slimane
In April 2016, Hedi Slimane revealed that, after a rollicking four-
year tenure marked by his compulsive and convulsive rewriting of
the house’s most revered codes, he was leaving Saint Laurent. Then,
in January of this year, the news broke that Slimane was heading to
Céline to replace the departed Phoebe Philo—another seismic jolt to
the system, one amplified by the briefest of statements (Slimane has
long been a man of few words but many actions) outlining that in
addition to women’s collections there would also be, for the first time,
a Céline collection for men, as well as haute couture in due course—or
his version of it, at least.
Though these two events both occurred within 24 months, given
the hyperspeed at which everything turns these days you might as
well count the time elapsed in light-years. The political and cultural
metamorphoses—and all that reordering of hierarchies and taste and
beauty—that have touched us all have left Slimane eager to return
to the fray. “Current evolutions make me want to focus, commit,
and engage even more,” he says. “There is, besides, a really inspiring
generation coming out.”
This is quintessential Slimane: a headlong rush into newness powered
by the youthful energy fomenting in the world. “It’s quite liberating
to see how new aesthetics can transcend preconceived ideas and
conventions,” he adds. “It is important not to fall for generic or fake
postures of progress, but rather to question a status quo, to have a
clear and distinct voice.”
And what of Slimane’s voice, one of the most clear and distinctive
out there: How has his time away altered its timbre? That initial an-
nouncement aside, Slimane still has his finger pressed to his lips as to
what, exactly, his Céline will look like, and so his debut show, to be
held during the Paris spring 2019 collections, will deliver that rarest
of things in fashion today: a genuine surprise. Yet it seems that he’s
feeling the ground shift under his feet. For one thing, Los Angeles,
whose sonic and aesthetic landscapes helped shape his vision for Saint
Laurent, is being reevaluated.
“There is clearly a change, a certain edge that feels disturbing,”
he says of his adopted hometown. “I’m always attached to the idea
of California, but recently less so to the city of Los Angeles. I don’t
feel comfortable with the evolution over the last few years—too
many people have moved in; we have seen entire neighborhoods
destroyed by speculation and developers. Something untouched,
mysterious, and magical has gone.” Instead, this serial nomad,
who has also lived in Berlin and London, is gazing back to France.
“Clearly, the political shift has changed the dynamics of the city
and the country in general,” Slimane says. “It has definitely moved
my focus toward Paris.”—MARK HOLGATE

HOMETOWN HERO
Céline returns Slimane—seen here
on the Pont Alexandre III—to Paris.
S E T DES IG N, N IC HO LAS DES JARDINS ;
PRO DUC E D BY DAY IN TER NATIO N AL

THE MORE THE MERRIER

FROM FAR LEFT: Ballerina Nozomi Iijima
in (a Vetements jacket); drummer
and activist Kiran Gandhi, known
professionally as Madame Gandhi (in a
Balenciaga parka); actor Kristine Froseth
(in a Balenciaga sweater); and artist-
activist Jen Sungshine (in a Gucci jacket).
In this story: hair, James Pecis; makeup,
Diane Kendal. Details, see In This Issue.

531
Virgil
Abloh Photographed by
Gueorgui Pinkhassov

“WE’RE IN A TIME where this wash of humanity is truly influenc-

ing—upstream—what fashion will become,” says Virgil Abloh. The
indefatigable multitasker is the designer behind his own label, Off-White,
as well as the new head of menswear at Louis Vuitton; a footwear
collaborator with Nike; a furniture collaborator with Ikea; an artistic
collaborator with Takashi Murakami; a formally trained architect; an
in-demand DJ; and the subject of an upcoming exhibition about his
own work at the Museum of Contemporary Art in Chicago.
Abloh, 38, is silhouetted by a citrine-yellow French summer sun
on a recent Monday afternoon, relaxed and happy not long after the
polychrome storm of his debut at Louis Vuitton, which featured a
rainbow-painted catwalk meant to broadcast an international message
of inclusivity and show notes with an infographic of the widespread
birthplaces of his cast. Though his intention is nothing less than a
reset of a company that’s been around since 1854, he’s kick-starting
it with an entire world of inspiration—the exact opposite of a blank
slate. And this is the thing about Abloh: He travels so extensively for
his many jobs that there’s a kind of horizon-surpassing, border-blind
eye to so much of what he creates.
Off-White, the label he founded independently, “gives me the freedom
to chronicle what’s happening—and a large part of Off-White is the
dialogue I’ve had between being from Rockford, Illinois, and spending
time in Europe.” Those disparate settings are evinced in the vast range
that Abloh builds into Off-White’s lineups: For fall, we see everything
from a toile-printed corset (very modern French) to a gauzy ombré
tulle dress (very modern Victoriana) to an all-black, action-hero-slick
catsuit (very, well . . . modern American).
How, then, does someone who routinely spans the world with
evidently limitless energy collect his thoughts to track, channel, and
reflect the forever-transforming world? “It’s like I’m walking down
different streets all at the same time, seeing, smelling, and breathing
diversity, and realizing that things you grow up with—race, religion,
gender, or anything else—tend to disappear once you’re embedded
in a global community.”
As for what fuels Abloh’s engine, particularly when it comes to Off-
White: “Young people in every city that I go to are loving life and actively
participating in it. I am shocked at how open-minded young people
of different cultures are compared to the presiding older generations.
Australia, Tokyo, downtown Los Angeles: It’s the same community,
bound by youth. And that gives me great hope.”—NICK REMSEN

COOL RUNNINGS
Abloh and Bella Hadid on the streets of Paris. Hadid
wears Off-White c/o Virgil Abloh. Hair, Cyril Laloue;
makeup, Christina Lutz. Details, see In This Issue,
PH OTOG RAP HE D BY GU EO RGU I PIN KH ASSOV O F MAG N UM PHOTOS. PRO DUCE D BY PHIL IPPE
SAINT-GIL LES AT PRODUCTION PARIS. S PEC IAL TH ANKS TO RESTAURAN T LA MAISON B LANC HE PARIS.
LIKE DOLCE & GABBANA’S JEWELRY SHOW, their menswear show,
their dinners, and their closing parties (the latest of which featured
a performance from former One Direction star Liam Payne), the
house’s recent four-day Alta Moda couture presentation was held in
a procession of stupendously lovely villas alongside Lake Como. In
tandem with the collection, created by a hundreds-strong in-house
atelier, the location was designed to stimulate sensory shock and awe:
total beauty overload.
No other event in fashion features such a globally diverse community
(the audience for this one numbered around 300) mingling, making
friends, and learning from one another. As Stefano Gabbana said
after the show, “The clients come from across the world—every cor-
ner—and they all have different eyes and sensibilities. That’s exciting.”
While the best-represented regions were China, the U.S., Russia, and
the Middle East, in that order, the net was cast far wider—to property
tycoon Stephen Hung (Hong Kong) and his wife, Deborah (Mexico);
conservationist Sylvia Mantella (Canada); entrepreneurs Serge and
Cindy Pereira (Congo); politician JP Singh (India); and TV host Oksana
Marchenko (Ukraine), not to mention scores of Brazilians, Spaniards,
Britons, Angolans, Singaporeans, French, and more.
“Alta Moda is a vision of Italy—the best of Italy, seen through our
eyes—made for the world to see,” said Domenico Dolce. The house
has also been taking Alta Moda out and about—Beijing, New York,
Tokyo, Mexico City, and London have all hosted capsule shows. “We
listen to what our local clients and contacts want,” Dolce said. “And
we respect these cultures. It’s very important not to be arrogant—we
learn a lot from these trips.”
This Alta Moda–fired approach now informs the whole company’s
ethos. Recent years have seen a heavy emphasis on courting millenni-
als during ready-to-wear shows, which were cast with a global scope
in mind, from Maluma (Colombia) to Natasha Lau (China), Luka
Sabbat (U.S.), and Princess Olympia of Greece.
Is this internationalist ethos born of market research? “No!” said
Gabbana urgently. “We do what we do out of instinct. You can’t ex-
pect the world to be interested in what you are doing unless you are
interested in what the world is doing. If you want to be listened to,
then pay attention. You’ll probably learn something you never knew
before.”—LUKE LEITCH

Domenico
Dolce &
stefano
Gabbana
FLIGHTS OF FANCY
Naomi Campbell (CENTER RIGHT) and Lady Kitty Spencer
(FAR RIGHT)—both in Dolce & Gabbana Alta Moda—at the Parco Civico
Teresio Olivelli, Lake Como. Photographed by Jason Lloyd-Evans.
In this story: hair, Guido for Redken; makeup, Pat McGrath.
Fashion Editor: Tabitha Simmons.
PRODUCED BY LENNART SCHLAGETER FOR BRACHFELD PARIS
 Nicolas
`
GhesquiEre
Photographed by annie leibovitz
IN LATE MAY OF THIS YEAR, Nicolas Ghesquière took to Instagram,
where he announced to his nearly 700,000 followers: “Happy to renew
my commitment with the beautiful house of @louisvuitton.” A week
later, he presented his cruise collection for 2019 at the Fondation
Maeght in the south of France. Inspired by the eccentricity of the
museum’s founders, Marguerite and Aimé Maeght, it was his loosest,
most spirited offering to date for the label, an eclectic mash-up of sharp
tailoring played against soft dresses, delicate peignoirs and ruffled
bloomers, hand-painted denim, techno–sneaker boots, and collectible
bags made in collaboration with Vogue’s Grace Coddington. Reflecting
on his decision a month later, Ghesquière said, “We’re opening an-
other chapter of our story, and the trust we built in the years together
is helping me to explore new things—it’s a great feeling.” Bucking the
industry trend that is seeing designers come and go from prestigious
labels with increasing speed, arguably weakening both the brands and
the designers in the process, Ghesquière revealed that he had renewed
a multiyear contract with LV.
Louis Vuitton is the most international of brands: Established in
1854 as a malletier, or trunk-maker, it has travel at its very heart—a
point Ghesquière continues to make with his round-the-world resort
collections. Before Saint-Paul-de-Vence’s Fondation Maeght, it was
I. M. Pei’s Miho Museum in the forest outside Kyoto, and before that
the Niterói in Rio de Janeiro. At each port of call, nearly half the au-
dience consists of clients, many of whom travel from distant countries.
But if the label is global, it has not always been inclusive. “Vuitton is
a very big boat; it’s quite traditional, and it has to be protected—the
craft, the savoir faire,” says Ghesquière. “I think some people don’t
cross the door of a Louis Vuitton store because it’s too intimidating
or because they think there’s not enough experimentation. But I’m
here to shake—to break—the boundaries.” Ghesquière promises that
his next five years will bring more experimentation and a greater sense
of inclusivity. “We’re all concerned about diversity—more than just in
fashion shows. In terms of actions and associations and organizations
around the world, Louis Vuitton can do more.”
It’s fair to say the designer has been doing a good bit of self-
exploration lately. He’s establishing his archives in Paris, and he’s hired
an assistant to begin collecting pieces, both digitally and physically. “I
think it’s time for me to have a very nice place where my work will be
reunited,” he says. “It’s not that I want to be nostalgic, but it’s always
great to look back and see your fundamentals. It’s probably where I’ll
find my future.”—NICOLE PHELPS

DOGGED PURSUIT
Ghesquière at work in his
home outside Paris.
Fashion Editor: Phyllis Posnick.
 Beyoncé
In Her Own Words
PHOTOGRAPHED BY TYLER MITCHELL
PREGNANCY After the birth of my first child, I believed in the
& BODY things society said about how my body should
ACCEPTANCE look. I put pressure on myself to lose all the baby
weight in three months, and scheduled a small
tour to assure I would do it. Looking back, that was crazy. I was still
breastfeeding when I performed the Revel shows in Atlantic City in
2012. After the twins, I approached things very differently.
I was 218 pounds the day I gave birth to Rumi and Sir. I was swol-
len from toxemia and had been on bed rest for over a month. My
health and my babies’ health were in danger, so I had an emergency
C-section. We spent many weeks in the NICU. My husband was
a soldier and such a strong support system for me. I am proud to have
been a witness to his strength and evolution as a man, a best friend,
and a father. I was in survival mode and did not grasp it all until months
later. Today I have a connection to any parent who has been through
such an experience. After the C-section, my core felt different. It had
been major surgery—my organs removed and put back in; not sure
everyone understands that. I needed time to heal, to recover. During
my recovery, I gave myself self-love and self-care, and I embraced be-
ing curvier. I accepted what my body wanted to be. After six months,
I started preparing for Coachella. I became vegan temporarily,
gave up coffee, alcohol, and all fruit drinks. But I was patient with
myself and enjoyed my fuller curves. My kids and husband did, too.
I think it’s important for women and men to see and appreciate the
beauty in their natural bodies. That’s why I stripped away the wigs
and hair extensions and used little makeup for this shoot.
To this day my arms, shoulders, breasts, and thighs are fuller. I have
a little mommy pouch, and I’m in no rush to get rid of it. I think it’s
real. Whenever I’m ready to get a six-pack, I will go into beast zone
and work my ass off until I have it. But right now, my little FUPA
and I feel like we are meant to be.
OPENING Until there is a mosaic of perspectives coming
DOORS from different ethnicities behind the lens, we will
continue to have a narrow approach and view
of what the world actually looks like. That is why I wanted to
work with this brilliant 23-year-old photographer Tyler Mitchell.
When I first started, 21 years ago, I was told that it was hard for
me to get onto covers of magazines because black people did not sell.
Clearly that has been proven a myth. Not only is an African American
on the cover of the most important month for Vogue, this is the first
ever Vogue cover shot by an African American photographer.
It’s important to me that I help open doors for younger artists.
There are so many cultural and societal barriers to entry that I like
to do what I can to level the playing field, to present a different point
of view for people who may feel like their voices don’t matter.
Imagine if someone hadn’t given a chance to the brilliant women
538
who came before me: Josephine Baker, Nina Simone, Eartha Kitt,
Aretha Franklin, Tina Turner, Diana Ross, Whitney Houston, and
the list goes on. They opened the doors for me, and I pray that I’m
doing all I can to open doors for the next generation of talents.
If people in powerful positions continue to hire and cast only people
who look like them, sound like them, come from the same neighbor-
hoods they grew up in, they will never have a greater understanding of
experiences different from their own. They will hire the same models,
curate the same art, cast the same actors over and over again, and we
will all lose. The beauty of social media is it’s completely democratic.
Everyone has a say. Everyone’s voice counts, and everyone has a chance
to paint the world from their own perspective.
ANCESTRY I come from a lineage of broken male-female re-
lationships, abuse of power, and mistrust. Only
when I saw that clearly was I able to resolve those conflicts in my own
relationship. Connecting to the past and knowing our history makes
us both bruised and beautiful.
I researched my ancestry recently and learned that I come from a
slave owner who fell in love with and married a slave. I had to process
that revelation over time. I questioned what it meant and tried to put it
into perspective. I now believe it’s why God blessed me with my twins.
Male and female energy was able to coexist and grow in my blood for
the first time. I pray that I am able to break the generational curses in
my family and that my children will have less complicated lives.
MY JOURNEY There are many shades on every journey. Nothing
is black or white. I’ve been through hell and back,
and I’m grateful for every scar. I have experienced betrayals and
heartbreaks in many forms. I have had disappointments in business
partnerships as well as personal ones, and they all left me feeling
neglected, lost, and vulnerable. Through it all I have learned to laugh
and cry and grow. I look at the woman I was in my 20s and I see a
young lady growing into confidence but intent on pleasing everyone
around her. I now feel so much more beautiful, so much sexier, so
much more interesting. And so much more powerful.
FREEDOM I don’t like too much structure. I like to be free. I’m
not alive unless I am creating something. I’m not
happy if I’m not creating, if I’m not dreaming, if I’m not creating a
dream and making it into something real. I’m not happy if I’m not im-
proving, evolving, moving forward, inspiring, teaching, and learning.
COACHELLA I had a clear vision for Coachella. I was so specific
because I’d seen it, I’d heard it, and it was already
written inside of me. One day I was randomly singing the black national
anthem to Rumi while putting her to sleep. I started humming it to her
 FLAWLESS
Floral headdress by
Phil John Perry for
Rebel Rebel. Erickson
Beamon earrings.
Lynn Ban necklaces.
Fashion Editor:
Tonne Goodman.
SEE YOUR HALO
Philip Treacy London
hat. Valentino
dress. OPPOSITE
PAGE: Louis Vuitton
dress. Alberta
Ferretti shoes.
 every day. In the show at the time I was working
on a version of the anthem with these dark minor
chords and stomps and belts and screams. After
a few days of humming the anthem, I realized I
had the melody wrong. I was singing the wrong
anthem. One of the most rewarding parts of the
show was making that change. I swear I felt pure
joy shining down on us. I know that most of the
young people on the stage and in the audience
did not know the history of the black national
anthem before Coachella. But they understood
the feeling it gave them.
It was a celebration of all the people who
sacrificed more than we could ever imagine, who
moved the world forward so that it could welcome
a woman of color to headline such a festival.
OTR II One of the most memorable
moments for me on the On
the Run II tour was the Berlin show at Olympia-
stadion, the site of the 1936 Olympics. This is a
site that was used to promote the rhetoric of hate,
racism, and divisiveness, and it is the place where
Jesse Owens won four gold medals, destroying the
myth of white supremacy. Less than 90 years later,
two black people performed there to a packed,
sold-out stadium. When Jay and I sang our final
song, we saw everyone smiling, holding hands,
kissing, and full of love. To see such human growth
ME, MYSELF, AND I and connection—I live for those moments.
Floral headdress by
Rebel Rebel. Lynn Ban LEGACY My mother taught me the
headpiece. Gucci dress.
OPPOSITE PAGE: Wales
importance not just of being
Bonner suit. Lorraine seen but of seeing myself. As the mother of two
Schwartz bracelet. girls, it’s important to me that they see themselves
too—in books, films, and on runways. It’s im-
portant to me that they see themselves as CEOs,
as bosses, and that they know they can write the
script for their own lives—that they can speak
their minds and they have no ceiling. They don’t
have to be a certain type or fit into a specific cat-
egory. They don’t have to be politically correct,
as long as they’re authentic, respectful, compas-
sionate, and empathetic. They can explore any
religion, fall in love with any race, and love who
they want to love.
I want the same things for my son. I want him
to know that he can be strong and brave but that
he can also be sensitive and kind. I want my son
to have a high emotional IQ where he is free to
be caring, truthful, and honest. It’s everything a
woman wants in a man, and yet we don’t teach
it to our boys.
I hope to teach my son not to fall victim to what
the internet says he should be or how he should
love. I want to create better representations for
him so he is allowed to reach his full potential as
a man, and to teach him that the real magic he
possesses in the world is the power to affirm his
own existence.
I’m in a place of gratitude right now.
I am accepting of who I am. I will continue to
explore every inch of my soul and every part of
my artistry.
I want to learn more, teach more, and live in full.
I’ve worked long and hard to be able to
get to a place where I can choose to surround
myself with what fulfills and inspires me.
—AS TOLD TO CLOVER HOPE
543
 I AIN’T SORRY
Dior dress. Saint
Laurent by Anthony
Vaccarello earrings.
OPPOSITE PAGE: Gucci
dress. Bvlgari earrings.
In this story: hair, Neal
Farinah; makeup, Sir
John for Marc Jacobs
Beauty; set design,
David White. Details,
see In This Issue .
PRO DUCE D BY SYLVIA FARAG O LTD. S PEC IAL THANKS TO REB E L RE BEL .
Coat

Fall’s most sumptuous outerwear—little red riding

hoods and knife-sharp tailored trenches, faux-fur
chubbys, and a wealth of options in cashmere,
crushed velvet, silk, and tweed—is a many-
splendored thing. Photographed by Daniel Jackson.
Check
FINE FEATHER
Chanel’s coat, which looks as
though the wearer just emerged
from a pile of gilt foliage,
welcomes a bit of accessorizing.
Put a pin in it—in this case, a
single earring rather than a
brooch. THIS PAGE: Model Ellen
Rosa wears Chanel’s woolly
coat with metallic-leaf appliqué;
select Chanel stores. Eleuteri
earring, worn as brooch. Eric
Javits hat. OPPOSITE PAGE: Model
Imaan Hammam (far left) wears
a Calvin Klein 205W39NYC
coat ($3,900), sweater ($990),
and skirt ($4,300); Calvin
Klein, NYC. Model Fei Fei Sun
wears a Fendi coat; fendi.com.
Adam Lippes cardigan, $890;
adamlippes.com. Ulla Johnson
dress, $995; ullajohnson.com.
Fashion Editor: Tonne Goodman.
547
 FOOD FOR THOUGHT
Meld bookish tweeds with silken romanticism in a flowing dress pieced together with strips of high-luster
silk—and topped off with an equally mishmashed topcoat. Model Abby Champion (above) wears a Ralph Lauren
Collection coat and dress. Ralph Lauren henley, $245. All at select Ralph Lauren stores. OPPOSITE PAGE:
The perfect first layer? Velvet, of course—particularly when it’s crushed, it’s a sumptuously tactile combination.
Model Hoyeon Jung (far left) wears a shearling Michael Kors Collection coat; select Michael Kors stores. Bottega
Veneta dress, bra, and belt; (800) 845-6790. Ariana Boussard-Reifel earrings. Christian Louboutin shoes.
On Sun: Givenchy faux-fur coat; Givenchy, NYC. Bottega Veneta dress and belt; (800) 845-6790. Marni earrings.

549
 SHALL WE DANCE?
Add some chic length to shorty-short ensembles with the right coat—and rave-girl platform booties for
punctuation. THIS PAGE: Model Grace Elizabeth (left) in a Max Mara coat; Max Mara, NYC. Vince slip
dress, $285; vince.com. David Yurman ring. Saint Laurent by Anthony Vaccarello boots. Rosa wears a Saint
Laurent by Anthony Vaccarello coat, shirt ($1,590), shorts ($2,990), and boots; Saint Laurent, NYC.
David Yurman ring. OPPOSITE PAGE: Jung wears a Prada coat, dress ($4,530), and wedges; select Prada stores.

550
 RED ALERT
Crimson cloaks? The
better to see you with—and
the best to be seen in.
Amorphous jackets and
’80s-shoulder-padded coats
add a welcome punch to
your look. NEAR RIGHT: Model
Yasmin Wijnaldum layers a
roomy Balenciaga faux-fur
coat ($4,100) over a marine-
blue parka ($3,100), hooded
shirt ($1,375), and pleated
skirt ($2,480); Balenciaga,
Beverly Hills. Sun swags a
Marc Jacobs scarf over a
coat ($1,500) and ruffled
neck tie; Marc Jacobs, NYC.

552
 MIDNIGHT MUSE
She wore blue velvet—and a sapphire-colored faux-fur chubby to boot. THIS PAGE: Wijnaldum shimmers in a slinky gown
with hand-painted floral details by Zac Posen (zacposen.com), an Emporio Armani coat ($2,495; Armani, NYC), and Alexandre
Birman heels. OPPOSITE PAGE: An off-kilter, handkerchief-hemmed coat is grounded with symmetrical striped bands
along the cuff. It’s the ideal combination of chaos and order. Hammam wears an Hermès cashmere coat; select Hermès stores.
Dries Van Noten turtleneck, $225; Bergdorf Goodman, NYC. Monse skirt, $890; net-a-porter.com. Loewe boots.

555
ALL CAPS
FROM LEFT: Elizabeth wears a
Coach 1941 shearling overcoat,
$2,200; coach.com. Max Mara
sweater, $875; Max Mara, NYC.
Albertus Swanepoel beret.
Hammam wears an Alberta
Ferretti caped coat, $4,495;
Barneys New York, NYC. Michael
Kors Collection sweater, $795;
select Michael Kors stores. Oscar
de la Renta tunic, $1,390; Oscar
de la Renta stores. Max Mara
skirt, $1,390; Max Mara, NYC.
Eric Javits beret. On Champion:
Max Mara wrap coat ($3,945)
and sweater ($875); Max Mara,
NYC. Chloé top ($1,995) and pants
($1,795); Chloé stores. Albertus
Swanepoel trapper hat. Brother
Vellies boots. On Rosa: Louis
Vuitton coat; select Louis Vuitton
stores. Max Mara pants, $795;
Max Mara, NYC. Eric Javits hat.
 S E T DES IG N, P IERS HAN ME R. PRODUC ED BY PAU L PRE ISS.

SECOND SKIN
Can you mix zebra, python, and shearling? If you’re wearing Tom Ford, certainly. THIS PAGE: Rosa fawns over fauna in Tom Ford
snakeskin-print pants ($2,200), sequined sweatshirt ($3,990), shearling coat, leather headband, and kitten heels; select
Tom Ford stores. Dinosaur Designs earrings. OPPOSITE PAGE: Eighteenth century–inspired frock coats make for the prettiest of
outerwear options. Hammam (left) wears a Dolce & Gabbana velvet embroidered coat ($3,995), shirt ($425), and pants ($995); select
Dolce & Gabbana stores. Champion, meanwhile, looks every bit the forest nymph in a Dior floral-embroidered coat and gossamer
tulle dress; select Dior stores. In this story: hair, Garren for R+Co. Haircare; makeup, Susie Sobol. Details, see In This Issue.

558
559
TO THE
MAX
The new director of the Metropolitan Museum
of Art is a lively Austrian with wide-ranging
experience and a belief that ancient and modern
art play well together. Dodie Kazanjian meets
Max Hollein. Photographed by Stefan Ruiz.

WHEN MAX HOLLEIN LEARNED LAST March that the search for
a new director of the Metropolitan Museum of Art was down to two
people—and he was one of them—he went to see Diane B. “Dede”
Wilsey, the imperial president and main patron of the Fine Arts Mu-
seums of San Francisco, where he had been director for less than two
years. “Take the job,” she told him. “You’re going to be chosen, and
you should know that it’s a great compliment to us.”
Hollein, who as of this August is the Met’s tenth director, strikes
many people as being preposterously well qualified for the position.
Forty-nine years old and armed with degrees in art history and business
administration, he has already directed five museums and overseen
the fund-raising and building of a new wing for one of them. He’s
curated shows that range from old-master art to Pablo Picasso and
Jeff Koons, and delivered excellent admissions. He gets along equally
well with artists, curators, board members, donors, and scholars. The
only downside to his appointment is that he’s not a woman: Here we
are again with another white male director, and a European one at
that. (Counting Max, half of the Met’s directors have been European.)
At a moment when the museum is struggling to regain its balance
after a period of turmoil and the abrupt (many say unjust) ousting of
the previous director, Thomas Campbell, the Met’s trustees apparently
decided against breaking the mold.
The big question is how Max will cope with not being the Met’s
number one. He will report to a paid president and CEO, Daniel H.
Weiss. (This has been tried before, unsuccessfully, at the Met. When
Philippe de Montebello became director, in 1978, he was meant to
report to president and CEO William Macomber, but he refused to
do so and soon established his own de facto hegemony as the top
authority.) “Max likes to run things,” Dede Wilsey tells me. “He’s
always way ahead of everybody in his thinking. So if he’s decided this
is going to work at the Met, he’s figured out how it’s going to work.”
WELL MET
Weiss describes his own view of leadership as “very collaborative. Max
Hollein, photographed
and I talked about this in great detail before his decision to come,” he in the Greek and Roman
says. “He will be responsible for the programming of the institution, galleries of New York’s
and I of course will be supportive of him.” Metropolitan Museum of
Tall, friendly, confident without being overconfident, Hollein laughs Art, where he takes the
reins this fall. Grooming,
easily and speaks with a German accent, often ending his sentences Scott McMahan.
with “ja?,” but he wants you to know he’s Austrian, not German. His Sittings Editor: Chloe Malle.
father was the Pritzker Prize–winning architect Hans Hollein, a key

560
561
 figure in postmodern architecture. His mother, Helene, had been a
fashion designer before she married, and his younger sister, Lilli, is
the director of Vienna Design Week.
“I grew up in an artistically minded environment,” he tells me at
his corner table in the de Young Museum cafeteria in San Francisco.
(It’s one of the two museums he runs there, along with the Legion of
Honor.) But he never wanted to be an architect. “Absolutely not! I felt
it would be a really impossible task to follow my father.” As a teenager,
Max couldn’t understand why, if his father was so famous, the family
“always had financial issues. We lived OK, but modestly, in the same
apartment that my father’s mother had rented in 1930.”
Max developed a keen interest in business, and his decision to get
master’s degrees in business administration as well as art history was a
small rebellion against his strong-willed father, who had hoped he would
become an artist. Ironically, his mother arranged for him, when he was
22 and a student at the University of Vienna, to interrupt his studies
by going to New York to intern with Thomas Krens, the brilliant and
mercurial director of the Guggenheim Museum. At the end of Max’s
three-month, “very intense” internship, Krens told him that if he ever
finished his two degrees, he would
have a job: “Call me.” “I didn’t know
at the time that when a New Yorker
says, ‘Call me’ or ‘Let’s have lunch,’
it can also mean, ‘This conversation
is over,’ ” Max says, laughing. After
collecting his double diplomas in
Vienna in 1995, he contacted Krens
and said, “I’m ready.”
The timing was perfect. Michael
Govan, who now runs the Los An-
geles County Museum of Art, had
recently left the Guggenheim, and
Max became Krens’s chief of staff,
working 24/7 on major projects like
the Guggenheim Bilbao and estab-
lishing the Deutsche Guggenheim in
Berlin. “We were constantly traveling
together,” he tells me. “My mother Hollein with his wife, Nina, and their three children before
once came to visit me in New York, leaving Frankfurt for San Francisco
and I wasn’t there.” His Viennese
girlfriend, Nina Schweiger, who was working toward her master’s in
architecture, joined him in New York. (They were married in 1999.)
She got a scholarship to work with the architect Peter Eisenman for
a year, and that segued into a permanent job with architects Tod
Williams and Billie Tsien.
One of Thomas Krens’s great strengths, Max says, “was to keep
the balls in the air as long as you can and wait for the window of
opportunity when things can fall in place. That opportunity might
not come, but you don’t compromise. That certainly resonated with
me, to think big. It was the ultimate American initiation for someone
just out of the university in Vienna.” After five and a half years with
Krens, though, he needed to break loose. “It was clear and important
for me to strike out on my own,” he says. “I felt I would risk becoming
a copy of Krens, a small copy, ja?”
When he told Krens that he was leaving to become head of the Schirn
in Frankfurt, a failing Kunsthalle on the verge of being shut down,
Krens was “not pleased,” he remembers. “He said, ‘You’re leaving the
Guggenheim in New York to go to Frankfurt?’ ” But Max wanted to
have his own institution, and he wanted to be in charge. Thirty-one years
old and bursting with energy, he transformed the Schirn’s moribund
program with a series of thought-provoking exhibitions. “Max took
562
what was a poor relative in town and made it into a force,” says the
New Museum’s artistic director, Massimiliano Gioni. “He did it mainly
with contemporary shows and ‘high concept’ thematic exhibitions of
nineteenth- and twentieth-century art.”
Four years later, he was offered the top job at the Städel, with its
important collection of medieval, Renaissance, and Baroque painting,
which included being in charge of the nearby Liebieghaus Museum.
He accepted it on condition that he could continue to direct the Schirn.
At Liebieghaus he placed Jeff Koons’s highly provocative sculptures
in dialogue with ancient works from the collection. “It was the best
show I’ve ever seen of Jeff,” says Richard Armstrong, director of the
Guggenheim. “His work needs to be viewed against classical sculpture,
and Max did it in a way that was really persuasive.” Under Max, the
Städel’s brilliant old-master shows (Cranach, Rogier van der Weyden,
Botticelli) drew record crowds, but his signal achievement was expand-
ing a minuscule contemporary collection from some 40 works to around
1,400, and raising private funds for half of the $69 million cost of a
new wing to house them. In 2012, his three museums drew more than
a million visitors, and the Städel was named Museum of the Year by
the German Art Critics Association.
After lunch with Max, I go to meet
his wife, Nina, at a bakery in San
Francisco’s Castro section. (Their
three-story Victorian house is
around the corner, but the movers
are already at work there.) She’s an
exquisite brunette, in sneakers, black
fishnet stockings, and a spring coat
in a linen fabric that looks like a
wonderful old checkered dish tow-
el. She switched from architecture
to fashion design when she and Max
left New York for Frankfurt in 2001
and decided to have children. The
coat is from her first collection. “I
WILL TRAVEL researched utility fabrics in Austria,”
she tells me, “and thought, This is
in 2016. way too beautiful to just be for kitch-
en towels and tablecloths.” She has
marketed her highly original eponymous brand online and in her own
Frankfurt boutique. This fall, she’ll bring out her first line of furniture.
Nina and Max were both born in Vienna; she’s two years younger.
They met in a bar when they were university students, and “it very
soon turned out that with Max this could be interesting for a long
time.” They shared a passion for punk rock, which led in Max’s case
to a still-abiding allegiance to electronic music. Two of her uncles are
architects, a half generation younger than Max’s father, and her family
and Max’s knew each other slightly. Both Max and Nina wanted to
leave Austria. “Vienna is a superbeautiful city, but at that time it was
a little sleepy and boring,” she says, “and our big dream was to go to
New York.” Their three children—two boys, Loys and Hector (six-
teen and fifteen), and a girl, Lucie (thirteen)—“as usual, complicated
teenagers,” according to Max, were all born in Frankfurt.
The Holleins have rented a town house on the Upper East Side (a
far cry from the one-room flat in Hell’s Kitchen the couple shared
during the Krens era). Every summer, including this one, they spend
B ERN D KAMME RER
a month with their extended families at Nina’s grandparents’ farm-
house in upper Austria. “It’s the most beautiful landscape,” Nina
says, “just like The Sound of Music.” Max remembers that when he
was a child, summer vacations were often aborted at the last minute
 because of his father’s work. “We’d
have our suitcases packed and in
the lobby waiting, and at the end
of the day, my father would post-
pone our departure.” Max tries
very hard not to let this happen
in his family. Breakfast, weekends,
hiking and biking and skiing are
all family-oriented. “If you come
from Austria, you’re a good skier,”
Nina jokes. “Otherwise, you have
to give up your passport.”

“Max is not just

S
itting in Max’s glass-
walled office at the trying to fill up
de Young Museum
during his last days another slot with
in San Francisco, another show; what
we talk about the
Met and its discon- he does is much
tents, and its future
under him. “The Met is the prime
closer to the idea of BEST IN SHOW
Highlights from Hollein’s résumé as the director of five different museums
example of an encyclopedic mu- making art,” says include “Julian Schnabel: Symbols of Actual Life” at the Legion of Honor in
seum at a very, very challenging, San Francisco, 2018; “Shopping: A Century of Art and Consumer Culture,”
probably volatile moment,” he Julian Schnabel an exhibition of more than 70 artists at the Schirn in Frankfurt, 2002.
says. “Encyclopedic museums
were founded on the idea that you
bring the culture of the whole world to one place and tell one single to contemporary art. Just look at his current and upcoming program
narrative. That’s an idea from the Enlightenment. But now—you can in San Francisco, with shows on Pre-Raphaelites and old masters,
use all the buzzwords, globalization, interconnectivity, and so forth—the the early work of Peter Paul Rubens, as well as a highly political exhi-
idea that you can actually tell one succinct story is really impossible. bition of contemporary Muslim fashion (page 328). “I think there’s
TOP: MOANALANI JEFFREY. INSTALLATION VIEW OF “JULIAN SCHNABEL: SYMBOLS OF ACTUAL LIFE” AT THE LEGION OF HONOR. IMAGE

You have to be an institution that embraces diversity—another buzz- a misunderstanding about modern and contemporary art,” he says.
COURTESY OF THE FINE ARTS MUSEUMS OF SAN FRANCISCO. BOTTOM: “SHOPPING. A CENTURY OF ART AND CONSUMER CU LTURE,”

word—not only regarding your staff and collection but in terms of “You already have that in the African, the Islamic, and in other areas
the multiple narratives you provide about the cultures of the world. of the Met’s collection, but you just don’t notice it. The perception
O CTOBE R 28–DEC E MB E R 1, 2002 . GUIL LAU ME BIJL. INSTALL ATIO N N EU E R SU PE RM ARKT, 2002, COURTESY O F TH E ARTIST.

For me, a museum is not just a place you visit but something that goes
way beyond the physical pyramid of the institution.”
Max is brimming with ideas, but for obvious reasons he can’t say
too much about them yet. “I haven’t had a chance to speak with the
curators,” he explains, “and I haven’t even met with the full board.”
He does say, though, “How we deal with modern and contemporary
is clearly one of the important questions.” It certainly is, what with the
ongoing controversy (inside and outside the museum) about the Met’s
$600 million plan to renovate and expand its modern and contempo-
rary southwest wing, and its costly takeover of the former Whitney
Museum, now called the Met Breuer, as a temporary annex for recent
art. Some people ask why the Met should collect contemporary art at
all when MoMA, the Whitney, and the Guggenheim are all competing
for it. Max feels strongly that it has to, and that contemporary and
modern art should hang in the main building on Fifth Avenue. “The
Breuer is a temporary solution,” he says. “A great space, but I don’t
want to officially comment on this.”
In San Francisco, Max hired the Fine Arts Museums’ first contem-
porary curator, Claudia Schmuckli, and together they staged shows
by Sarah Lucas, Urs Fischer, and Julian Schnabel at the Legion of
Honor, which raised some eyebrows and drew mixed reviews—con-
temporary art had been virtually invisible there. It was Max’s idea to
present Schnabel’s work in the Legion’s outdoor courtyard, interacting
with the neoclassical architecture. “I met Max nearly 30 years ago,”
Schnabel tells me. “He certainly didn’t turn into a jerk as he got older.
He’s not just trying to fill up another slot with another show; what he
does is much closer to the idea of making art.”
As Max’s record shows, his area of interest is by no means limited
that it’s only in one wing is not right. Modern and contemporary will
be part of the equation in the entire museum in multiple ways. What
the Met can do is bring it together with older art in a much broader,
more complex, sometimes more surprising dialogue.”
What, I ask him, does he plan to do about the highly unpopular
$25 admission fee that the Met recently levied on out-of-town visitors?
“I fully understand the decision that has been taken,” he says with
official aplomb. And then, letting me in on one of the advantages of
being number two, he smiles and says, “It’s really a CEO decision, ja?”
Several other museums have tried to recruit Max in recent years.
He was on the Guggenheim’s short list ten years ago, and in 2013,
he was wooed by the Pompidou—he withdrew because he felt he
wouldn’t have the freedom he needed there. And it’s been rumored
that MoMA has had its eye on him as a successor to Glenn Lowry.
“He was made chairman of Bizot,” says Richard Armstrong, “which
is like a secret society for 55 leading museum directors of the world.
His peer group, even the old guys, thought he was capable of running
the whole thing.”
One of his colleagues on Bizot was Tom Campbell, the Met’s last direc-
tor, who suggested Hollein when the museum’s board chairman, Daniel
Brodsky, asked him for ideas about who might succeed him. “I was very
impressed with Max,” Campbell tells me. “He’s a diplomatic, thoughtful
guy who sees modern art as something to be celebrated but also some-
thing that could be used as a gateway to historical art.” Michael Govan
agrees. “He’s extremely smart and a natural leader. There are few people
in the field with his level of experience, at his young age,” he says. “He
can have a very long run at the Met, as Philippe de Montebello did.” 

563
She Must Be Joking
Tiffany Haddish is the rare
celebrity who says exactly
what’s on her mind. Rawiya
Kameir gets in the head of
comedy’s new queen.
IN AN INDUSTRIAL POCKET OF the Bronx,
sandwiched between a wastewater-treatment
facility and an MTA lot, is a tiny road named
Tiffany Street. On a humid summer after-
noon, Tiffany Haddish is three short blocks
away, eating an Egg White Delight McMuffin
and hash browns in a bare, windowless con-
ference room that has been designated for
our interview. Since Haddish’s breakout role
in last year’s Girls Trip, she has voiced a very
specific aspiration: to set up a community
center for young people raised in foster care,
as she herself was. She imagines building it
on two intersecting streets, “Tiffany” and
“Haddish.” The actress doesn’t have children
of her own, but she wants to be “a mentor, a
mother, a guide,” she says. So when I tell her
about the homonymous street nearby, her
slender eyebrows climb upward. “I have to
go take some pictures right there!” she says.
Haddish was born in Los Angeles to an
American mother and an Eritrean father, who
left the family when she was three. When she
was eight, her mother was in a car accident
that caused a brain injury and eventually a
mental illness, turning her violent toward
Haddish, who assumed the role of de facto
parent to her four younger siblings. Five years
later, they all ended up in foster care, and Had-
dish was separated from the others. When
she was fifteen, a social worker attempted to
address behavioral issues—Haddish hadn’t
learned to read beyond a first-grade level
and often acted out to distract from that
deficiency—by sending her to a comedy
camp at the Laugh Factory in Los Angeles.
If you look hard enough, you can find a
video of her from that time, trying on her
wild-eyed, near-slapstick style. One bit,
in which she describes rigging up two old
TVs—one for sound, one for picture—to
make a single, functioning unit, could fit right
into her 2017 Showtime special, She Ready!
From the Hood to Hollywood. Even now, just
Photographed by Annie Leibovitz
beneath her exuberance, a past defined by
poverty and mistreatment still figures into
her performances. “The only time I didn’t
wanna cry is when I was laughing,” Haddish
says, her unlined eyes welling up. “I’ve got
all these jokes about my mom, and what I’m
joking about, like her abuse and all this stuff,
it’s painful. When you realize, ‘My mama, she
might love me, but she don’t really like me,’
you know?” Years later, Haddish reconciled
with her mother, even setting her up in an
apartment where her sister—who received
training to take care of people with mental
instabilities—lives with her.
Haddish, now 38, spent her late teens and
20s working multiple jobs—everything from
airline check-in attendant to “energy produc-
er” at bar mitzvahs—and trying her hand at
L.A. comedy clubs. This varied experience
has given her a certain kind of resourceful-
ness—in the absence of silicone inserts, she
instructs the fashion assistant on Vogue’s
shoot to fill out her bustier with athletic socks.
Later, sitting in the wardrobe trailer, she asks
a member of her team to deliver 600 diapers
to a celebrity friend’s birthday bash. “He’s
about to have a kid, and he’s gonna need
those,” Haddish says. “I like to give people
practical-ass gifts.” Haddish has made plenty
of new famous friends over the past year, but
she has also kept a longtime crew close. At
an Essence-magazine event this winter, she
thanked one of them, Selena, in particular:
“We met when we was twelve years old, and
she never got rid of me. Even though I was
acting weird and stuff and I wore Payless
shoes.” She remains connected to her siblings
as well, while maintaining a certain degree of
tough love: “If they’re like, ‘Oh, can I borrow
$100?’ I’m like, ‘You know what? Yeah. I’ll
loan you the $100, but if you don’t pay me
back before my birthday, you can never ask
me for money again.’ ”
Over the past decade she’s worked steadily,
stealing scenes on series like The Carmichael
Show, as the brash ex-sister-in-law, and in
Keegan-Michael Key and Jordan Peele’s
film Keanu, in which she played a comically
professional gang member. But she became a
global sensation with the gut-busting friend-
ship movie Girls Trip, appreciated equally for
her performance C O N T I N U E D O N P A G E 6 2 0
 FUNNY GIRL
“Apparently I run
my mouth a lot,”
Haddish observes.
Alexander McQueen
S E T DES IG N, MARY HOWARD STU DIO

corset top, belt,

and sandals. Tory
Burch briefs. David
Yurman earrings.
Hair, Oscar James;
makeup, Dionne
Wynn. Details, see
In This Issue.
Fashion Editor:
Phyllis Posnick.
 PAST
PERFECT
Tory Burch has brought new life to a storied Antigua home.
It was, as Hamish Bowles discovers, a labor of love.
Photographed by François Halard.
 THE PLOT THICKENS
Designed by Miranda
Brooks, the densely
planted cutting garden
features golden trialis,
Panama roses, and
cosmos; a slat house
shelters the tenderest
buds. OPPOSITE PAGE:
Burch on her bay-view
balcony. Hair, Wesley
O’Meara; makeup,
Berta Camal.
Sittings Editor:
Miranda Brooks.
 A
t the cusp of the 1960s, the
legendary tastemaker, gar-
dener, and cultural philan-
thropist Rachel “Bunny”
Mellon acquired a hand-
some plot of land that hovers over an azure bay on the Caribbean
island of Antigua. Here the architect H. Page Cross created a series
of elegant pavilions decorated by Mellon with the celebrated Billy
Baldwin. Although unrestrained by finances, Mellon’s perfectionism
was subtle: She instructed one of her designers to make the items that
graced the interior look as though they had been brought “down from
the attic.” But she also insisted that imperfect potato chips be removed
from their bowls. “It plays at unpretentiousness,” wrote Vogue staffer
Alison Harwood in an effusively enthusiastic report on the house to
then editor Diana Vreeland, “pretending to be as casual as the blue
denim wrap-around skirt and matching floppy-brimmed cloche devised
for Mrs. Mellon’s working costume by Mainbocher.”
The furniture for the house was slipcovered in D. D. Tillett’s
hand-printed cottons, and the canopy beds were hung with Made-
leine Porthault’s flowered sheets. The silvered shingles of the roofs
568
MADE IN THE SHADE
The swimming pool, framed by acacia
trees that act as poolside parasols. The
wicker seating on the deck is upholstered
with fabric sourced in Majorca, Spain.
were made from Brazilian wood, the terraces underfoot hewn from
coral stone. Oak floors were scrubbed with salt water to age them, and
then painted to imitate stone paving, like those in Swedish country
mansions. The pathways that trellised the fragrant herb garden outside
the chatelaine’s bedroom and in the far-flung potager were made from
bricks imported by the British, who used them as ballast for their ships.
(They sailed home with rum.) Mellon also nurtured local craftspeople,
who created the handmade clay pots and the rustic wattle fencing,
and established a carpentry workshop that could replicate antique
furniture. (It’s still flourishing.)
When they were all done, Baldwin called it “the prettiest house in
the world,” and Mellon herself declared that it was “the house I love
the most”—and she had an impressive array to choose from. Mellon
led a relatively sequestered life here—the widowed Jacqueline Ken-
nedy and her young family, as well as Hubert de Givenchy, who had
a dedicated suite and his own china and linens, were among the few
guests. As she reached her centenary, however, Mellon retreated to
her estate in Virginia, and the property was put on the market, where
it languished for years.
Tory Burch wasn’t looking for a Caribbean home, but she had
 ISLAND IN THE SUN
In the sitting room, Burch mixed
in antique French finds with
Bonacina wicker pieces. BOTTOM:
The foyer, where American and
French flags nod to the upcoming
union of the home’s owners.

always been intrigued by Mellon’s taste and by the dashing stylemakers

of the 1960s—in fact, when she founded her self-titled line in 2004,
Burch looked to the vintage country club wardrobes of her glamorous
parents for inspiration, and her fall 2018 collection is partly inspired
by her friend Lee Radziwill’s “effortless style.” As it happens, one of
Burch’s childhood friends had a house near Mellon’s, and during a
family Christmas in Mustique, plans were laid for a visit—“just for
the heck of it,” as Burch remembers. The beauty stunned her—and to
her great surprise, her three sons (Sawyer, seventeen, and twins Henry
and Nick, 20) loved it too.
But the house had barely been lived in for 20 years.“The gardens
were dead,” says Burch. “The trees were dying.” Her fiancé, Pierre-
Yves Roussel, special adviser to Bernard Arnault, the chairman and
CEO of LVMH, also had reservations about the rehabilitation of
the property. “The bones were all there, but it definitely had a lot of
wear and tear,” Burch recalls. “I had to convince him, but we decided
it was something we wanted to do together.” They plan to wed on the
property before the end of the year.
Burch was determined to be respectful of Mellon’s imprint. “How
do you perfect someone’s taste when that person has perfect taste?”

569
 BLOOM-BLOOM ROOM
ABOVE: The inner
courtyard’s reflecting
pool. ABOVE RIGHT: Burch’s
bedroom, with linens by D.
Porthault and a bed canopy
in cottons by Pierre Frey and
Le Manach. RIGHT: A view of
the library, with upholstery
fabric by Dek Tillett.

570
 “Our goal,” architect-designer
Daniel Romualdez explains, “is that you
can’t tell what the interventions are”

THE MELLOW
BRICK ROAD
A parterre outside
Burch’s bedroom, with
diamonds of green
and silver Texas sage.

571
queries Burch. “I wanted to pay homage to her, but make it our own
as well.” She called on her friend and longtime accomplice the archi-
tect-decorator Daniel Romualdez, who has worked on her rambling
1929 Gatsby manse in Southampton and her apartment at the storied
Pierre hotel, and has crafted the dynamic David Hicks–ian interiors
for her stores and showrooms around the world. “He understands
about that restraint and shabbiness,” says Burch, “the idea of imper-
fection—like washing out fabrics to make them look old.”
“The layout that Page Cross did is pretty hard to mess with,” adds
Romualdez. “We didn’t really touch it.” The house is, indeed, sim-
ply impeccable. Cross designed the rooms to flow into one another,
with shuttered French windows revealing vistas at every turn. The
plumbago-blue dining room opens on one side to a tropical conserva-
tory, paneled in pale lime-green bamboo, where hummingbirds purr
over orchid plants, banana fronds, and palms. Below, a meadow of
soft gold wild grass sways in the wind like the bay’s eddying waters.
Alterations were thoughtfully considered: The bathrooms were subtly
updated and a pantry added to the kitchen, where gingerbread shelving
now houses Burch’s early–nineteenth century botanical china—some
of it from Mellon herself, the rest sleuthed online. On Romualdez’s
advice, a guest house was transformed into a “man cave” for Burch’s
and Roussel’s sons (he also has three). “If I didn’t have it,” Burch notes
wryly, “it would be a bit of a nightmare.”
Burch found antique French provincial furniture in the auction
rooms and in her parents’ basement and mixed it with the wicker
seating from furniture-maker Bonacina that Italian style icon Marella
Agnelli used in her own fabled humble-grand schemes. “Our goal,”
Romualdez explains, “is that you can’t tell what the interventions are.”
Vogue Contributing Editor Miranda Brooks, meanwhile, was
charged with bringing the gardens back to life. She chose flowers that
come into their own at dusk, when the unforgiving sun has cooled, the
moonflowers open up, and the vanilla bush, Panama rose, and almond
trees are at their most fragrant. There are heady scents everywhere—a
reflecting pool is filled with yellow water lilies; combined with the
licorice-scented oleander and the pale-yellow frangipani, it is almost
overwhelming. (“Will you tell Estée Lauder we want to do a frangi-
pani?” Burch, ever pragmatic, instructs an associate.) “Miranda has
great vision,” says Burch. “And she was channeling Mrs. Mellon: It’s
almost a spiritual thing. What she did was amazing because it looked
like it had always been there.”
Inside and out, Burch’s goal has been to make the house sustainable
and ecologically responsible. There are solar panels, a desalination
plant, and a cistern to collect the rainwater that holds half a million
gallons. (The broader caretaking imperative extends to her work as
well: Since the company’s founding fourteen years ago, the philan-
thropic arm, the Tory Burch Foundation, with Bank of America as
a partner, has given out $40 million in low-interest capital loans to
help female entrepreneurs.)
In the vegetable garden, Burch gleefully points out the serried ranks
of okra, eggplant, beans, peppers, kale, cucumber, and cantaloupe.
Mellon went on foraging trips round the island with her gardeners,
transplanting plants to her property. “It’s the only way to do it,” says
Brooks: Many imports are prohibited because of the potential that they
will bring disease. There are papaya trees in the orchard and macadamia
trees in the nuttery, and against the odds, Brooks has even managed to
create a flourishing rose garden. “The gardens will always be a work
in progress,” says Burch, “but the imperfections are so beautiful.” 

FIELD OF DREAMS
A golden wild-grass meadow is enclosed by traditional
wattle fencing—the handiwork of an island craftsman.

573
on her
own terms
IT HAD BEEN A LATE NIGHT—an exhibi-
tion match on Long Island in early spring
with Eugenie Bouchard—and Sloane Ste-
phens was hungry. She sank into a soft couch
in the dark, cavernous lobby of the Ace Hotel
in Manhattan, gorgeous in a navy velour Nike
sweatshirt, sweatpants, and a pom-pom hat.
“Egg and cheese—but I’m on a diet,” she said,
eyeing the breakfast menu. Then she flashed
one of her stunning smiles: “Ooh, sourdough
pancakes; that sounds good.”
She was in a happy place, even though she
hadn’t won a match in months and had lost
in the first round at the Australian Open.
She knew that reporters and analysts had
been studying her for signs of disaffection,
if not disaster. There would be ups and
downs to come—solid play at Indian Wells,
a tournament win in Miami, a closely fought
championship final at the French, another
first-round exit at Wimbledon. And yet for all
of her unpredictability on court, Stephens, 25,
exudes a steadiness in person, a nonchalance
that comes from a career of shrugging off ex-
pectations. “I win the U.S. Open, and it’s like,
Oh, my God, you’re supposed to win more,”
she says. “You’re supposed to do all these
things. Well, I’m not doing what you want
me to do. I’m doing what I want to do. I want
to just play. Whatever happens, happens.”
That’s the philosophy of a different kind
of champion—one who defines her career
on her own terms. And it will be tested this
month when Stephens returns to Flushing
Meadows. Her win here last year shocked
everyone, not least herself. “Never in a mil-
lion years,” she says, did she think she would
make it to the final. She’d been coming off a
stress fracture to her foot and had seen her
ranking plummet to 957. And yet she gritted
out three-set matches, sometimes winning
without playing her best. Her resolve was
especially evident in her semifinal against
Venus Williams, which Stephens won, 6–1,
0–6, 7–5. Against Madison Keys in the final,
she played with both intensity and calm poise.
574
ON THE EVE OF HER HIGHLY ANTICIPATED RETURN TO
THE U.S. OPEN, SLOANE STEPHENS IS DETERMINED TO BE
A DIFFERENT KIND OF CHAMPION—WIN OR LOSE.
PHOTOGRAPHED BY STEVEN KLEIN.
So never mind the losses since. “You’ve
got to work with what you got,” she tells me.
The women’s game was once dominated
by teenagers, but it had such a problem with
burnout that the WTA began instituting an
age-eligibility rule in 1995, dictating that no
one under eighteen could play a full season.
And yet the weight of expectations remained
overwhelming for young players, as Stephens
learned at nineteen, after toppling Serena
Williams in the quarterfinals of the 2013 Aus-
tralian Open. Hours later, ESPN was showing
clips of a young Roger Federer beating Pete
Sampras, suggesting the passing of a torch.
“She got thrown into the limelight early,”
says Paul Annacone, Federer and Sampras’s
former coach, who started working with Ste-
phens that year. “When that happened, every-
thing changes. Even if you don’t think it does,
it does. She’s wrestled a little bit with that.”
From the start Stephens combined incred-
ible foot speed with an unusual explosiveness
and the ability to turn and create shots that
made her more than a passive counterpunch-
er. The first time Annacone saw her play, he
immediately recognized “the efficiency of her
gifts,” he says. “My eyes just kind of popped
out of my head.” But when Stephens was
frustrated or hurting, her feet would slow, and
with her feet went her game. She struggled to
find a way to win. At her best, Stephens has
an unusual intelligence on court, an ability
to patiently construct points that set up a
winning shot. But when things don’t go her
way, the effort seems to drain out of her.
Through it all she resolutely looks forward.
Whatever happens, happens. “It’s not that I STANDING STRONG
don’t care,” Stephens says. “It’s that I don’t “I don’t live and breathe
look like everyone else. I do it in my way.” tennis 24/7,” says
Stephens, wearing a Paco
That means staying calm between practice Rabanne dress. “You put
sessions, going on walks, and caring for her too much pressure on
body. It’s a kind of equilibrium, and Ste- yourself, you block all the
phens relishes it. “Not caring, or not being good stuff.” Hair, Shon;
makeup, Renee Garnes.
into it—if that gets you a U.S. Open, I wish Details, see In This Issue.
more people didn’t care. Obviously it works Fashion Editor:
for me.”—LOUISA THOMAS Phyllis Posnick.
S E T DES IG N, ANDREA STANLEY. PRO DUC E D BY CARO LIN E STRID FE LDT FO R LOLA PRO DUCTION.
UNDER RUSTED LAMPPOSTS on a dusty
street in a postwar Naples neighborhood, the
wiry and fierce Lila Cerullo marches past an
old man roasting chestnuts and kids kicking
a soccer ball made of string. She sees her
best friend, Lenù Greco, along with other
girls in buckled shoes and buttoned sweaters,
swooning over the handsome Solara brothers.
“You don’t know anything,” Lila says.
“They are dangerous.” As she storms off,
the girls mock her as jealous. In Neapolitan
dialect, Lenù calls out for her to wait.
“Stop-a!” comes a voice from afar, and
a boom microphone over the girls’ heads
lifts away. The chestnut roaster pulls out a
novel, the extras check their cell phones, and
the acclaimed Italian film director Saverio
Costanzo races out of a white tent to coach
the unknown stars of My Brilliant Friend,
the much-anticipated HBO television series
adapted from the best-selling book by Elena
Ferrante, the anonymous author whose nov-
els have captivated the literary world.
“You should have the eyes of a crazy per-
son. Stronger,” Costanzo says to fourteen-
year-old actress Gaia Girace, who plays Lila,
the olive-skinned force of Neapolitan nature
(and the brilliant friend of the title) described
by Ferrante as “tense in every fiber.” The girl
listens intently as a makeup artist hollows out
her cheeks. “The important thing,” Costanzo
says, “is that the body keeps the tension.”

577
 If Costanzo seems a little tense himself,
that’s because he’s the custodian of Ferran-
te’s beloved Neapolitan novels—a vivid and
heartbreaking quartet exploring the nuances
and complicated trajectories of female friend-
ship. Ever since the books were published to
near-universal acclaim earlier this decade,
readers have yearned to know the true iden-
tity of their author—who has maintained
anonymity despite attempts at an unveiling—
and who has contributed notes on the script
to Costanzo. Meanwhile, Italian producers
spared no expense in painstakingly construct-
ing this enormous, 20,000-square-meter set
in Caserta, about 35 kilometers north of Na-
ples. Walking around, I am transported by
weathered political posters and death notices.
The convincingly aged walls of apartment
buildings have working windows and internal
staircases to reach the balconies where extras
in expertly researched costumes pass the day.
After the long dark ages of Italian tele-
vision, marked by scantily clad showgirls
on channels owned by Silvio Berlusconi,
My Brilliant Friend represents a kind of
watershed moment—an Italian produc-
tion with true global reach. We’ve recently
had Gomorrah, the wildly popular Italian
crime show, itself adapted from a best-selling
book, and The Young Pope, a highly stylized
treatment of the Vatican by director Paolo
Sorrentino, whose film The Great Beauty
won a foreign-language Oscar. But it is this
production that marks a high point in the
renaissance of Italian television, in no small
part because brilliant, ambitious, and com-
plicated women—far from Berlusconi-era
adornments—are the heart of the story.
It’s also a project that runs counter to
the prevailing political winds in Italy. As
populist and nationalist forces have come
to power around the country, promot-
ing inward-looking protectionist policies
that echo those of the Trump administra-
tion, here is a production that faces out-
ward, asserting Italy’s place in the world.
It tells a story of barriers broken, of ig-
norance, sexism, and provincialism over-
come. Ferrante’s novels, Costanzo says,
offer “a revolutionary message in our times.”
Italy’s former culture minister Dario Fran-
ceschini, himself ousted by the populist parties
now running the country, says that the pro-
duction and other examples of Italy’s cultural
engagement with the world are even more
necessary now that walls are all the rage.
“Especially in the world of culture, the idea
is to open as much as possible, to mix expe-
riences,” he says, arguing that a globalized
world puts greater value on the distinctions
and sense of identity that are so strong in
578
Ferrante’s Naples. “If there are forces that
want to stop it, to exploit fear, that is only
more reason now to push ahead.”
As soon as the news emerged that the books
were being adapted into a miniseries, newspa-
pers speculated as to which famous actresses
would get the leading roles. (fantasy casting
for elena ferrante’s neapolitan novels on
tv, read one Guardian headline.) But Costanzo
and HBO agreed that he would shoot the se-
ries in an antiquated Neapolitan dialect with
subtitles—even in Italy—and in a bold nod to
the Italian neorealist cinema of the 1950s, he
would find amateurs to play the protagonists.
I
first met Costanzo last year
as he scoured the schools and
neighborhoods in and around
Naples for the right 1950s-era
faces. Neapolitans like to call
their city an open-air theater
packed with natural characters,
and Costanzo and his casting di-
rector saw about 13,000 of them, including
8,000 children. It was emotionally draining to
watch so many hopeful kids from chaotic and
Camorra-haunted neighborhoods bound
into a room only to come out dejected. When
I bumped into Costanzo after the auditions
at a Naples pizzeria with his girlfriend, the
Unlike the other girls, who burned to tell
their friends about the role of a lifetime,
Girace wanted to keep it a secret. “It was a thing
for me,” she says softly. “A personal thing”
actress Alba Rohrwacher (who appeared
alongside Tilda Swinton in Luca Guada-
gnino’s I Am Love), he seemed worried he’d
never find his young muses.
And yet, on this sunny and warm April
afternoon, the ninety-ninth day of shooting,
Costanzo, smoking a hand-rolled cigarette
and dressed in a fashionably rumpled blue lin-
en shirt, baggy pants, and sunglasses, smiles
as he talks about his leads. He says the girls
who play the youngest versions of Lila and
Lenù in the first two episodes seem “covered
in magic dust.” The slightly older girls filming
the rest of the season’s eight episodes are also
making their debuts, following months of
preparation and hard work. “All of this,” he
adds gesturing toward the enormous set, “is
to see two girls playing with dolls.”
Daniela D’Antonio, the show’s Italian
publicist, who also happens to be the wife
of Sorrentino, introduces me to eleven-year-
old Ludovica Nasti, who plays the younger
version of Lila. As we cross a quiet courtyard,
I overhear a comment about how good Nas-
ti looks with short hair. Passing this along
seems like a useful way to break the ice with
the young actress, but instead she clams up.
So we talk soccer, which Nasti is passionate
about, and she smiles and proudly shows
off her bruised shins. Then she tells me that,
like Sophia Loren, she is from Pozzuoli, just
outside Naples. “Everybody back home calls
me ‘the second Sophia Loren of Pozzuoli.’ ”
Actually, Nasti thinks she has more in
common with Ferrante’s Lila. “Lila is strong
and not ashamed of anything. She tells you
things to your face. This I like a lot,” she says,
as we sit in the courtyard, her legs swinging
beneath her chair.
After a while, the subject of cutting her
long hair for the role comes up, and her
mother, Stefania Filippone, who is with her
on set, reveals that it is no small matter. She
explains that at age four her daughter began
years of chemotherapy to treat lymphoblas-
tic leukemia, and it left her bald.
Nasti recalls that the doctor promised her
that her raven-black hair would “grow back
stronger and longer.” It did. When the show’s
producers said she’d have to cut it if she took
the part, her mother told her she was proud
no matter what and gave Nasti a piece of
paper to privately write down her decision.
“I wrote yes, that I wanted to cut it,” the
girl tells me. “Because it’s important. It’s an
opportunity.”
Next I meet the eleven-year-old who plays
the younger Lenù, Elisa Del Genio, who is
from one of the wealthiest areas of Naples.
Dressed in overalls and a white shirt, she
speaks some Spanish and English and is
fluent in Norwegian—her mother’s native
language. She tells me that a fever kept her
away from the auditions, but that Costanzo
discovered her when she accompanied her
brother to a callback. She sheds her shyness
when I ask her to rehash her lines in Nea-
politan dialect. She wants to keep acting,
 THE TIES THAT BIND
Margherita Mazzucco (LEFT), fifteen, and Gaia Girace, fourteen, play the older versions of the two
friends whose stormy, intimate relationship animates the series. Neither had acted before. In this story:
makeup, Esmé Sciaroni; hair, Samantka Mura; costume designer, Antonella Cannarozzi.

she says, and then adds, “But I always want
to work with the same people.”
As the older girls film a scene from different
points of view, I visit the costume depart-
ment, just off set, where ten tailors and de-
signers provide 1,500 Italian period pieces to
the stars and extras. Racks of vintage drivers’
jackets, bras and stockings, Borsalino hats
and suspenders, loose-fitting blazers and
floor-sweeping skirts crowd the rooms. Fabric
is soaked, burned, and otherwise distressed to
make the clothes appear lived-in and humble.
An Italian shoemaker in Bulgaria has sent
boxes of fifties-era shoes for aging, but one
gleaming pair on the counter stands out.
In the book, these shoes play a critical role.
Lila, the daughter of a cobbler, demonstrates
her ingenuity and ambition by designing the
pair. To realize them, Costanzo called his
friend Pierpaolo Piccioli, the creative director
of Valentino. The result is a dark calfskin
travel loafer with elaborate white stitching
around the toe and striped vamp.
Back on the set, Costanzo makes Girace do
take after take as Lila. “Last time you were
much tougher,” he tells her. “Much better.
Now really hit that ‘Basta.’ ” Finally, when he
emerges from his tent exclaiming “beautiful,”
the fourteen-year-old allows herself her first
smile of the day.
Shortly after, Girace joins me in the court-
yard. I’m surprised to find a quiet and even
bashful girl. From a small seaside town south
of Naples, she says she shares with Lila “her
energy, the fragility of her sentiments, her
determination.”
She and her mother have moved to be
close to the set. Unlike the other girls, who
burned to tell their friends about the role of
a lifetime, Girace wanted to keep it a secret.
“It was a thing for me,” she says softly. “A
personal thing.”
Margherita Mazzucco, the fifteen-year-
old who plays the older Lenù, is fairer, with
thick, wavy hair. She welcomes me to the
courtyard, “where I live,” she jokes, and com-
plains that the costumed padding is making
her seem heavier.
“I’ve never acted, never done anything,”
she says. “Even today, I asked myself why
they picked me.” In the course of devouring
the books, she at first saw nothing of her-
self in the naive “and nice” Lenù. But as an
actress, she has learned they both “observe
everything.”
There is much for her, and audiences, to
soak in here: the hanging laundry, the wafts of
roasting chestnuts, the rumbling Fiat 1100s,
and the theatrical conversations. Above all
there is the pulsating authenticity of Ferran-
te’s novels put to film.
“If you walk around Naples,” says
Mazzucco, “it’s like this.” 

579
 THE GLOBAL
TABLE
have found an enthusiastic
welcome in the food world.
“AT HOME, THEY USED to call me ‘the one who stops
the rains.’ ”
Tamar Adler reports on a
I’m speaking to Tatenda Ngwaru, a very tall, very feel-good (and delicious)
beautiful 30-year-old from southern Zimbabwe, who
is gently stirring a pot of fragrant chicken stew. She is at
culinary trend. Photographed
once exuberant and composed, and casually stylish in by Grant Cornett.
stone-washed black jeans, black Vans, and a black caftan.
She’s also in the midst of cooking for 28: tonight’s by-invitation-
only Displaced Kitchens dinner, an installment of a popular series by
the food-event start-up Komeeda. I’ve volunteered to be Tatenda’s
sous-chef—which so far largely involves staying out of her way as
she measures curry powder, soy sauce, and salt and gets her stew to a
proper simmer. This is a high-stakes night for Tatenda, the first time
she’s brought the flavors she grew up with to a fickle New York dining
crowd. I fetch her mixing bowls—to be filled with sweet boiled but-
ternut squash and sautéed spinach—and ferry cutting boards to the
dishwasher, easy assignments that don’t make her anxious. “I speak
my mind,” Tatenda warns me. “That’s what got me here!”
Here means a combination of couch-surfing, cat-sitting, enduring
nights of homelessness (“That was hard,” she says), and, recently,
scraping together enough to rent a Brooklyn apartment while she
awaits asylum status. It has been a fraught existence, but still an im-
provement over life in Zimbabwe, where she was blamed by neighbors
for drought and incurred threats of arson to the family home. Why?
Because Tatenda was born intersex: with genitalia of both genders.
Zimbabwe is a patriarchal society, and her parents chose to raise
her as a boy—until, at age eleven, she developed breasts and started
menstruating. Tatenda refused to hide what was happening, which
her parents eventually accepted. Their community in Gutu district
did not. When Tatenda founded an advocacy organization aimed at
educating fellow Zimbabweans about intersex and transgender issues,
she received death threats and fled the country.
Hers is one story among many. Last year, according to the United
Nations High Commissioner for Refugees, 68.5 million people were
uprooted from their homes—the vast majority from developing coun-
tries. It’s the worst migrant crisis in history, and the numbers are only
getting more grave. The UNHCR reports that one person is displaced
every two seconds: an average of 44,500 a day. Against such harrowing
data, tonight’s dinner is, in its very small way, inspiring. Here are savvy,
open-minded eaters aligned with a refugee who—even while unmoored
and grasping for security—is a guardian of culinary wisdom in danger
of vanishing. It is unlikely anyone here tonight has had stew and sadza,
or bota. “You are about to taste the food of my childhood,” Tatenda
says, suddenly bashful as she faces a long, expectant table. “This is
what we ate while we lived our lives.”
Komeeda is the brainchild of Palestinian and Yemeni business
partners Nas Jab and Jabber Nasser al Bihani, who, in response to
President Donald Trump’s first travel ban, in January 2017, began
hosting refugee-chef dinners on the Lower East Side. The dinners
580
Amid a
worsening
crisis,
refugees
sold out—as have subse-
quent ones in New York,
Austin, Texas, and Wash-
ington, D.C. Interest in the
cuisines of refugees, here
and in Europe, amounts
to something of a culinary
fervor. In 2016 an ingenious French catering company called Les
Cuistots Migrateurs co-organized a festival at which newly arrived
immigrant chefs took over dozens of restaurants around Paris, Lyon,
Madrid, and Rome. For three years running, the UNHCR has or-
ganized refugee food festivals in collaboration with dozens of buzzy
restaurants everywhere from Amsterdam to Madrid to New York
City to San Francisco. In London the acclaimed Mazí Mas pop-up is
staffed entirely by refugee women, cooking their native dishes. In Los
Angeles, the New Arrival Supper Club has been treating diners to the
home cooking of Homs, once the third largest city in Syria; Detroit will
soon be home to the Midwest’s (and perhaps the entire country’s) first
Burundian restaurant and market, Baobab Fare, founded by refugees;
in Durham, North Carolina, the Sushioki chain opened explicitly to
“offer stable, flexible, living-wage jobs to refugees.”
“It’s a great match of symbiotic needs,” says Padma Lakshmi, a
refugee advocate who worked with Susan Sarandon to promote the
recent documentary Soufra, about a group of refugees finding hope
through food. “The culinary world needs people who know and value
the importance of hospitality, who relish creating nourishment and,
in doing so, nourish themselves. Food is the thing that feels most like
home. Eagerness to create a home starts with the job of creating food.”
A cross-cultural perfume pervades Tatenda’s dinner. It begins with
Palestinian specialties (“Africans don’t do appetizers,” Tatenda jokes)
cooked by Nas Jab—fresh hummus, fat Medjool dates stuffed with
haloumi, and tightly rolled grape leaves encasing fragrant rice. The
main course, Tatenda’s chicken stew and sadza, a starchy, polenta-like
mass for dipping, is gone in seconds. Offerings of more spinach and
butternut squash soon vanish, too, and the whole thing ends not with a
Zimbabwean sweet but with tiny crisp triangles of baklava and ice cream.
Several weeks later, I visit Charleston, South Carolina, to meet
chef Michael Shemtov, owner of the popular Butcher and Bee, who
I’ve heard has attracted a stream of refugees to his kitchen. “It was
partially selfish and partially altruistic,” he tells me over a breakfast
of avocado toast, eggs, and hummus. “I was consumed by news about FO OD STYL IST, V ICTO RIA G RAN OF.
ISIS and sad about Syria. I was also trying to make really nice pita and
SET DESIGN, NOEMI BONAZZI.
flatbread.” None of Shemtov’s employees has yet been Syrian—but
he has found himself in an otherwise unlikely C O N T I N U E D O N P A G E 6 2 0
FLAVORS OF HOME
A table set with Middle Eastern specialties, including saffron
soaking in rose water, dried turmeric with nigella seeds, zaatar
pita, dried persimmon- and-walnut candy in grape must.
Stories of burnout—and worse—are rife in a modeling
industry filled with vulnerable mid-teens. So isn’t it
time for the fashion world to commit to working with
models old enough to vote? asks Maya Singer.
P
asha Harulia was fifteen
when strangers began
reaching out to her on
Instagram, asking if she
was interested in model-
ing. She wasn’t—but at
her mother’s urging, she
agreed to give it a shot.
Weeks after signing with an agency in her
native Kiev, the then-sixteen-year-old was
en route to Paris, booked for the Balenciaga
show. “I didn’t even know what Balenciaga
was,” says Harulia, who is now nineteen.
“People told me it was good.”
After Paris came Tokyo, where Harulia
shared a models’ apartment with several Rus-
sian girls, the youngest of whom was thirteen.
It was an intense few months, much of the
time spent in a van that shuttled the young
models to castings. “I had some fun,” she
says. “But mostly I was thinking about the
money.” Guangzhou, China, was different.
Modeling for e-commerce sites, she says she’d
sometimes shoot up to 100 looks a day. “It
was like, how do you say it—like someone
wiped the floor with me,” Harulia recalls.
“And then threw me away.”
How did we get here? How did the fashion
industry become so reliant on the labor of
teenagers? What’s striking about Harulia’s
story is how typical it is. Cara Taylor began
modeling at fourteen. Imaan Hammam was
thirteen when she was spotted near an Am-
sterdam train station. Andreea Diaconu was
an unusually tall eleven-year-old when scouts
582
started circling. These girls are a few of the
lucky ones; resilient Harulia signed with blue
chip agencies in New York and Paris and
walked for Miu Miu in March for the fall
2018 collection, but many of the roommates
with whom she shared flats in unfamiliar
cities were discarded or burned themselves
out—“broken from the inside,” as she puts it.
Fashion has long valorized youth. But
the churn of “new faces,” as rookie mod-
els are known, has become relentless. Vast
numbers of them cycle through the indus-
try at hyperspeed. “It’s not like all these kids
are destined to become stars,” notes Angus
Munro, a casting director who works with
designers including Rick Owens and Isabel
Marant. “It’s more that the business model
has become, Let’s throw a bunch of spaghetti
at the wall, and maybe one noodle sticks and
books the Prada show.”
No one designed the system to work this
way. But can we change it?
Early this year, in the wake of #MeToo CASTING
revelations, Condé Nast, the publisher of CALL-OUTS
this and many other magazines, issued a new The pool of
talent from
global vendor code of conduct. Respond- which modeling
ing to stories about models both male and agencies and
female being inappropriately touched, pres- designers and
sured for sexual favors, and even assaulted, photographers
and magazines
Condé Nast established provisions aimed to draw is—like
ensure that all its editorial shoots are safe the world
working spaces—harassment-free zones itself—
kaleidoscopically
with private dressing rooms and allowances diverse.
for model approval of both poses and cloth- Photographed
ing. Another set of provisions addresses by Edward Kim.
the age of models: In recognition of the
unique vulnerability of minors thrown into
a career where they have little control and
where abuse has been all too commonplace,
the vendor code of conduct stipulates that
no model under the age of eighteen will be
photographed for editorial (unless he or she
is the subject of an article, in which case the
model will be both chaperoned and styled
in an age-appropriate manner).
This is partly the result of an internal reck-
oning. Vogue, along with a number of other
publications, has played a role in making it
routine for children—since that’s what they
are—to be dressed and marketed as glam-
orous adults. When Brooke Shields, then
fourteen, graced the February 1980 cover of
Vogue, she was an outlier. Since then, models
in their mid-teens have appeared in many of
our fashion editorials. No more: It’s not right
for us, it’s not right for our readers, and it’s
not right for the young models competing to
appear in these pages. While we can’t rewrite
the past, we can commit to a better future.
Will the rest of the fashion industry follow
suit? The Council of Fashion Designers of
America is on board: As its president and
CEO, Steven Kolb, explains, the CFDA has
witnessed positive changes since establishing
a sixteen-plus standard on the runway eleven
years ago. “The brave men and women who
have come forward to talk about a culture
of sexual harassment in certain parts of the
fashion industry have made us reevaluate,”
he says. “Young models are still develop-
ing. There can be a lack of the confidence,
strength, experience, and maturity it takes
to deal with the pressures of this work. The
CFDA supports the recommendation of
raising the minimum age—we want young
models to have the time to come into their
own so they feel safe and in charge in the
workplace.”
A small ask, you might think. How hard
can it be to commit to working with models
old enough to vote?
Consider Naomi Campbell. The ne plus ultra
of supermodels, Campbell was just shy of
sixteen when she launched her career in the
mid-1980s, when there were but a handful of
twice-yearly fashion shows—a model could
stay in school if she wished. Agencies signed
very few names and invested in their long-
term success by being selective with their
bookings. Thus Naomi and her peers were
sought-after. They developed close working
relationships with designers, who would rig-
orously fit the variety of looks handpicked for
them to wear on the runway. “It used to be,
the fittings would take forever,” remembers
David Bonnouvrier, cofounder and CEO
of DNA Model Management in New York.
“Now the girls are cast to fit the dress.”
“It’s a numbers game,” agrees Chris Gay,
co-CEO of Elite World Group; it includes
The Society Management, which represents
Kendall Jenner, among others. “Brands want
40, 50 girls in a show, leaving less opportu-
nity for designers to spend time with each
talent. There’s no time for long fittings. But
you know who fits those tiny samples?” Gay
shakes his head ruefully. “Teenagers—girls
who haven’t finished growing yet.”
Starting this month, DNA Models and The
Society Management will no longer be sub-
mitting new models under the age of eighteen
for show consideration in North America.
(For DNA Models, one exception is models
who previously participated in Fashion Week
and are under eighteen.) Bonnouvrier and
Gay are hopeful that other agencies here and
abroad will join them—and that designers
and casting directors will embrace the change
as well. “Let’s get back to believing in models
and developing them,” Bonnouvrier says.
“Let’s get back to a model being a muse and
not a coat hanger.”
I
f you want to understand why very
young models became the runway
norm, you have to look at the evo-
lution Gay and Bonnouvrier have
observed—from show samples’ be-
ing fitted to variously proportioned
young women to young women’s
being matched to size 0 samples.
And to understand why the fix isn’t as simple
as, say, cutting larger samples, you have to
tease out the other factors at play, from the rise
of the internet to the fall of the Iron Curtain.
It’s a systemic problem. Its causes are diffuse.
Around the time Naomi Campbell locked
arms with fellow supers Linda Evangelista,
Christy Turlington, and Cindy Crawford to
sing along to George Michael’s “Freedom!
’90” on Versace’s runway, tectonic social
and political changes were afoot. Sir Tim
Berners-Lee had just built the first World
Wide Web browser; NAFTA negotiations
had commenced, jump-starting globaliza-
tion; celebrities were beginning to displace
models on the covers of fashion magazines;
and the breakup of the Soviet Union had left
millions of people scrambling for a foothold
in the emerging New World Order. The des-
perate poverty throughout the Eastern Bloc,
as the fashion industry would soon delight
in discovering, meant there was a seemingly
endless supply of tall, high-cheekboned, often
undernourished girls who saw modeling as
their ticket out of chaos.
 “That was a turning point,” admits An-
gela Missoni of the influx of models from
Eastern Europe and the former Soviet re-
publics. “You know, the fashion sketch—it
was always about elongation, exaggeration
of the silhouette. Suddenly there were all
these girls who looked like the sketches. If I
think back,” she says, “that’s probably when
the sample size dropped. It wasn’t that we
wanted to make them smaller—it was just
that the girls showing up at castings were
smaller. So we adapted.”
Sample sizes weren’t the only thing that
shrank: Paychecks did, too. In economic
terms, models from the East—and later, Bra-
zil—flooded the market. Designers no longer
needed to shell out thousands of dollars to
the women walking in their shows, so instead
of hiring a few to quick-change in and out
of several looks, it became standard to cast
dozens, who would each wear one. That suit-
ed stylists: As veteran casting director James
Scully notes, when celebrities came to domi-
nate magazine covers, “shows became the pri-
mary creative outlet for models; that’s when
you see the emergence of the superstylist. The
girls became more interchangeable, and the
show was all about the proposition, the big
look.” The catwalk’s uniform army was born.
Their ranks served another purpose. With
Condé Nast’s launch of Style.com (now Vogue
Runway) in 2000 and the advent of runway
images posted to the internet, designers found
themselves speaking directly to consumers.
This was a sea change. Previously, shows were
for editors and buyers, whose job it was to
interpret designers’ ideas. Now those ideas
needed to be communicated directly. A strong,
singular look—reiterated many times—got
the point across. Shows became more “edi-
torial,” in the industry vernacular, the styling
punchier and the clothes more ornate. The aim
was to underline the uniqueness of a brand at
a moment when great numbers of them were
hopping on the fashion-show bandwagon.
And why wouldn’t they? With the market
globalized and runway models to be had on
the cheap, what better way to stake a claim on
potential shoppers’ attention than by staging
an advertising campaign that would be broad-
cast, via the internet, instantly and worldwide?
“First it was more shows; now it’s shows
all the time,” says Ashley Brokaw, the cast-
ing director for brands including Prada and
Chloé. “If I look at my calendar, there are
three months out of the year where I don’t
have a fashion show, but I’m casting all year.
It’s become a supply-and-demand issue: Ev-
eryone needs bodies—more girls, more boys.
Agents and scouts have to supply those bodies
to meet their clients’ demands,” she continues.
“It’s not like the old days, when Linda and
Christy and Naomi could do everything.”
Countless teens daydream about becoming
models. It’s an appealing fantasy: Someone
plucks you out of the crowd at Coachella,
tells you you’re gorgeous, asks if you’ve ever
modeled before, et voilà: Goodbye, teenage
angst; hello, jet-setting around the globe with
your new squad of cool, beautiful friends.
Jeff and Mary Clarke are the kinds of
people who discover girls at summer music
festivals. The proprietors of St. Louis–based
Mother Model Management, the Clarkes
talent-spotted future stars Karlie Kloss and
Grace Hartzel. And they’ve dispelled a lot of
teenage fantasies. “This is a tough business,”
says Mary. “We’re very up front about that
with our models. We tell them there are no
guarantees—you’re going to face a lot of
rejection and a lot of criticism, and you have
to know how to deal with that and not let it
crush you.”
“And that,” adds Jeff, “is why the develop-
ment process is key.”
The Clarkes do more than scout: They’re
“mother agents.” Mother agencies train
“If you have a business that employs people,” says
Stella McCartney, “you have to be mindful of
their conditions of employment—period. There’s
no reason fashion should think it’s above that”
models and break them into the industry’s
primary markets of New York and Paris. Of
course, this isn’t the only way models enter
the business. Competitions like Elite Model
Look are another pipeline, and these days
models can be plucked from Instagram by
scouts from all over the world, who pitch
them straight to casting directors. When
the Clarkes develop a new face like Mal-
lory Veith, seventeen, one of their most
promising signees, they bring her to their
home studio to do test shoots with trust-
ed photographers. They teach her how to
pose, how to walk, and nudge her into paid
work—booking, say, shoots in St. Lou-
is, a few hours from the small city where
Mallory lives. Then they’ll advance her to
larger cities. Over the past year, Veith spent
a month each in Tokyo, Los Angeles, and
Mexico City, experiences she describes as
like “getting to go to college early.” She’s
made friends on those trips, ones who make
up for the friends she’s lost touch with since
deciding to finish her studies online.
“Mallory’s an old soul,” explains her ac-
tual mother, Krista Veith. “She was over the
gossip and drama of high school by the end
of her freshman year.”
Mallory believes she’s ready to try her luck
in New York; the Clarkes agree. And Krista
takes comfort in the fact that when Mallory
embarks on her first round of show castings,
Jeff and Mary will be there for her. But not
all mother agents are so, well, motherly. As
casting director Munro notes, “There’s no
book of ethics” for agents. Some are good;
some are unscrupulous; some don’t believe
they have any particular duty of care when
it comes to the young models on whom their
paychecks depend. Andreea Diaconu re-
calls, for instance, that when she developed
a painful dental abscess in London early in
her career, her former agent “couldn’t even
be bothered to get an ibuprofen.
“I am beyond grateful for everything this
job has given me,” says Diaconu, now 27.
“Yes, I missed out on languid summer days
with friends. I went from being one of the
best students in my class to barely passing
my math exams. But I traveled, I learned
languages, and now I’ve been accepted to
Columbia University—and I’m pretty sure no
scholarship in Bucharest would have brought
me there.”
That said, Diaconu’s early experiences in
the fashion industry illustrate its perils for
young models. “When I was fourteen, I’d have
photographers asking me to go topless. There
would be 20-hour days, taking green tea pills
for stamina. Once, when I was about sixteen,”
she says, “I had a booker tell me I had to
socialize and go to clubs. It still makes me
uncomfortable when I see models dressed as
exotic parrots, hanging out at bottle service.”
Diaconu tossed the drugs and drinks she
was handed on those nights out. Other teen
models aren’t as savvy—nor should we expect
them to be.
“Look, it’s not just girls,” says Jeff Clarke.
“There’s a boy from Racine, Wisconsin,
we’re working with. He’s never had a job. I
mean, just think about all the changes you go
through between the ages of sixteen and eigh-
teen, all the first-time experiences you have.
There’s no way this C O N T I N U E D O N P A G E 6 2 1
585
HIDING IN PLAIN SIGHT
The incognito chic of the new
coverings speaks equally to
our desire to conceal—and
that eternal wish to stand
out. Richard Quinn x Slam
Signs helmet. Clothes and
accessories by Richard Quinn.
All at richardquinn.london.
Fashion Editor: Phyllis Posnick.
586
 Is there seduction
in concealment?
Safety in charade?
Lynn Yaeger surveys the dainty veils,
balaclavas, and full-face glitter
from the fall runways and considers
a game of hide-and-seek.
THEY EMERGE FROM BACKSTAGE, gliding
down the runway cloaked and hooded, bury-
ing their considerable lights under swaths of
fabric, concealing their coiffures and shroud-
ing their lovely faces. At Dior Couture, veiling
darkens their visages but is open at the eyes,
like the world’s chicest ski mask; at Gucci, a
literal ski mask tops a turquoise pirate shirt.
A tightly wrapped balaclava accompanies
an ensemble that drips multiple strands of
trademark pearls at Chanel; at Valentino,
it’s babushkas tied in back, under the hair, a
luxurious interpretation of a style whose roots
reside in folklore. And the British designer
Richard Quinn, whose show is famously at-
tended by the queen, outdoes them all: He
smothers his models’ faces entirely under
brightly printed scarves, causing you to won-
der how they will even find their way down
the catwalk—and whether they are in any
danger of tumbling into the monarch’s lap.
This predilection to disappear in plain
sight is not limited to the catwalks. In April
at Coachella, Rihanna caused a sensation
when she appeared in a Gucci ski mask, made
with chandelier earrings attached, and thigh-
high boots. (Her face was entirely hidden,
but those legs gave the game away.) Beyoncé,
an early adopter of the trend, has taken a
quieter route, raising the hood on a printed
Chanel windbreaker at the French house’s
Paris–Salzburg show in New York City, a
million miles from the wild exhibitionism of
the vanished Sasha Fierce.
What is the meaning of this peekaboo? Is
this desire to cover up—which manifested
itself in the fall 2018 collections not just with
covered heads but with modest necklines and
voluminous long sleeves—a reflection of
the #MeToo moment, a rage against the
sexual-objectification machine? At a time
when the whole notion of seduction is being
radically rethought, when ancient assump-
tions about gender are being upended, is it re-
ally so surprising that designers are addressing
these issues in their own arcane and beautiful
ways? Or perhaps the new visibility of women
in the Middle East, and the way that hijabs are
finding their way into the fashion vocabulary,
is playing a role? Or could it just be that in
an age of Instagram vainglory, the allure of
literally covering up, of not being so endlessly
available, has its own currency?
Whatever the reason, there is a gorgeous
paradox lurking behind these obscured
features: These strategies may function as
disguises, but they hardly whisper anonym-
ity. Ask the young upstart designer Matty
Bovan why the models on his last London
catwalk sported severe wraps on their heads
and spooky cobalt rectangles around their
eyes—“Was it about protection, Matty, or
 HEAD GAMES
Because all-over ornamentation is a many-splendored thing. Versace beaded hood and dress; versace.com. BEAUTY NOTE Upgrade your no makeup–makeup
look with a bare-faced glow. Lancôme Teint Idole Ultra Custom Highlighting Drops are infused with pearlescent pigments for a naturally radiant complexion.
 SILVER LININGS
Shiny Mylar draws the
eye but obscures the
body; a drawstringed-
and-brimmed
balaclava, meanwhile,
perfectly frames the
face. Clothes and
accessories by Calvin
Klein 205W39NYC;
calvinklein.com.
 There is a gorgeous paradox lurking
behind these obscured features:
These strategies may function as disguises,
but they hardly whisper anonymity
anonymity, or something else?”—and he
replies, “Yes, protection! But the models’
hair colors were shown trailing out of the
balaclavas, so they all had a personality in
color or texture.”
And he is right, of course—personality will
triumph, no matter how capacious the cowl.
When I call upon the makeup artist James
Kaliardos, he has, coincidentally, just come
from working with the Somali-American
model Halima Aden, who broke boundaries
just three seasons ago by becoming the first
model to walk the runway in a head covering.
“I was helping her with her hijab. It was so
interesting to see how to wrap it,” Kaliardos
says, explaining how the modest accessory
can have an aesthetic function not unlike a
hoodie’s. “It just isolates the face in such an
interesting way.” Pressed on the subject of face
isolation, he cites the turban-sporting divas
of the past: Sophia Loren, head sequestered
in layers of tulle; Barbra Streisand, swathed
in a symphony of scarves. Kaliardos insists
that rather than rendering you less noticeable,
covering your hair means that the shape of
your face—your cheekbones, your jawline, the
590
curve of your eyebrows—suddenly moves to
center stage. “Beauty-wise, you have a palette
to create a bold mouth, a shade on the eyes.
You have to be graphic—and that’s cool,”
he says.
Then again, this resolute coolness, this lim-
itless horizon, works only on some days. You
may be trotting around with your bold mouth
and your dazzling eye, but the impulse for
taking cover cannot help but signal the occa-
sional storm cloud above. Demna Gvasalia,
the creative genius behind Balenciaga and
Vetements (a look back at both houses reveals
a panoply of chin-concealing foulards and
street-style hoodies), spent his early years in
the Republic of Georgia, in a volatile political
climate, surrounded by grandmas in babush-
kas. He confesses that in his case, headgear is SHADOW SELVES
linked to a “general craving for safety, since Bold silhouettes in exotic
patterns and palettes summon
I was young. Protecting the head from rain, rich worlds of their own creation.
from noises, from pollution, et cetera. A hood TOP LEFT: Veil, clothes, and
instantly makes one more invisible, more un- earrings by Erdem; erdem
exposed, and that I love too,” Gvasalia says, .com. RIGHT: Stephen Jones for
Marc Jacobs hat. Clothes and
adding, “I just think that’s modern and now.” accessories by Marc Jacobs.
But if, as he alleges, it is modern and now to All at Marc Jacobs stores.
duck and dodge, Gvasalia also thinks wearing
591
 your heart on your sleeve—or at least on
your face—is what the present climate calls
for. Sequestered under those hoods on his
fall Vetements runway were faces that, for
him, responded to a growing unease: “At
the moment my favorite makeup mood is the
half-washed, cried-all-night kind of makeup.”

f course, you can read

O
the newspapers and cry
all night, but then you
wake up, there is a ray
of sunshine peeking
through the window
shade, and suddenly
you think, The hell with it! Today I will greet
the world with a face full of glitter! This sur-
feit of sparkle might completely mask your
features—a radical method, to be sure, of
hiding your assets—but is it really so differ-
ent from taking shelter behind a ski mask?
Val Garland, the makeup artist who intro-
duced the fabulously flecked visages at the
fall 2018 Giambattista Valli show (in one
case, gleaming above a diaphanous, long-
sleeved, high-collared caftan), says the im-
petus to drown your sorrows in glitter can be
summed up with the desire to feel a simple
feeling: “One word: lit.” And it turns out that
it is disarmingly easy to feel lit. “Put Eight
Hour Cream all over the face so the glitter
has something to adhere to. Place a tray of
glitter in front of your mouth, and blow!”
If diving into a pile of glitter is one way of
obscuring your features, wrapping yourself
in tulle is quite another. Erdem Moralioglu,
whose veiled models wove through the hushed
confines of London’s National Portrait Gal-
lery at his most recent show, took as his muse
Adele Astaire—Fred’s sister, who was one
half of their song-and-dance act until 1932,
when she quit show business to marry a British
aristocrat and set up housekeeping in Ireland’s
Lismore Castle. Moralioglu imagines Adele,
widowed young, wandering the haunted cor-
ridors of the castle “with a shocking glamour
behind a black veil. It was the idea of conceal-
ing one’s grief . . . in a fur coat and a ball-gown
skirt.” He sees this melancholy Lady of the
Lake with a saturated red lip and a smoky dark
eye, just visible through the netting, suggesting
what he calls “the implication of beauty.” PEEKABOO BAROQUE
And maybe that is what we want right Because there’s
PRO DUC E D BY DAY IN TER NATIO N AL

now: the implication of beauty—a glimpse everything, there’s more

behind the veil, a peek under the hood. Grief than everything, and then
there’s just extra. Masks,
and joy, revelation and concealment, the sunglasses, clothes, and
merest hint of happiness! Who can blame body jewelry by Gucci;
us if we sometimes want to hide in a hoodie, gucci.com. In this story:
Hair, James Pecis for
take shelter in a turban, then tear off the head Oribe Hair Care; makeup,
cover, get out the glitter, bury our fears, and Hannah Murray. Details,
step into the light?  see In This Issue.

592
She’s Electric
The future of fashion
is bright—literally!
Model Vittoria Ceretti takes
fall’s head-turning colors
and must-have tech
accessories for a walk
on the shores of Coney Island.
Photographed by
Angelo Pennetta.
 TECH SPECS
Never blend in with a
lemon-yellow leather
trench—and an iPad
worn as an accessory.
Maison Margiela coat;
Maison Margiela, NYC.
Jil Sander top, $1,150;
Dover Street Market New
York, NYC. Balenciaga
earrings. Rag & Bone
belt bag. Hermès mini
bags. Apple iPad Pro.
Padlette tablet holder.
Fashion Editor:
Alex Harrington.
CATCH A RAVE
Take the party to the
beach with a wristful of
smartwatches synced
with your summer
playlist—and a seaside look
with all the right moves.
Balmain top ($1,285) and
briefs ($510); Balmain,
NYC. Prada hat. Beats by
Dr. Dre earphones.
Maison Margiela chain.
Pensa goTenna Mesh, on
chain. Watches by Apple,
1Face, and Hermès.
 CALLING CARDS
Accessories—in eye-
popping shades—are
the stars of the show.
Carolina Herrera dress,
$3,290; Carolina Herrera,
NYC. Maison Margiela
top, $2,390; Maison
Margiela, NYC. Balenciaga
earrings and pink tote.
Hermès necklace. Prada
badge holder, orange bag,
and sneakers; select Prada
stores. Marni green bag.
BEAUTY NOTE
Elevate your beach look with
statement arches. Chanel
Stylo Sourcils Waterproof
Defining Longwear
Eyebrow Pencil delivers a
bold natural look that can
withstand the elements.
HIGHLIGHT
AND CONTOUR
Clash a vixenish dress
in fluorescent lime with
outdoorsy carabiner-
centered accessories
for an outfit that’s
perfectly unexpected.
Prada dress ($2,980)
and badge holder;
select Prada stores.
Balenciaga necklace.
 BLUE CRUSH
Stay dry (and stay chic)
in Francesco Risso’s
city-slick trench—the
perfect anchor for a
whole seaside-palette
look. Marni coat,
$2,740; Marni stores.
Tesla Solar Panels
in background.

599
WHAT’S THE SCOOP?
Ordinary goes
extraordinary when you
mash up a buzzy color
story with some inventive
personal tech. Jil Sander
dress, $2,690; Mameg,
Beverly Hills. Prada
hat. Maison Margiela
chain. Pensa goTenna
Mesh, on chain.
Photographed in front
of a Tesla Model X.
S E T DES IGN , AN DY HARMAN. P RODUC ED BY PATRIC K VAN MAAN E N FO R MOXIE PRODUCTIO NS

STRIP TEASE
A billowing, leather-
striped dress fairly
demands the sort
of big-time accessories
that work anywhere.
Loewe dress; Bergdorf
Goodman, NYC. Prada
sneakers. DJI Phantom
4 Advanced drone
remote controller. In
this story: hair, Akki;
makeup, Fara Homidi.
Details, see In This Issue.
Holding
Court
This coterie of Nike tennis stars rule on and
off the court. Dressed in the latest Nike looks,
we see them command style like never before.

The One Ranked #1 in the world,

SIMONA HALEP goes beyond her
aggressive baseline game with
determination and drive.
SIMONA WEARS: NIKE ACG DOWN
PARKA AND NIKE REACT ELEMENT 55
Ready to Reign
ELINA SVITOLINA’s strong backhand and
consistent, powerful groundstrokes have
secured her coveted Top 10 status.

ELINA WEARS: NIKE ACG GORE-TEX

COAT, NIKE X SACAI LDV WAFFLE, AND
NIKECOURT VICTORY SKIRT
 The Comeback
A champion has reemerged in VICTORIA
AZARENKA, appropriately known for her
powerful returns on the court, and she’s
poised to reclaim what’s hers.

VICTORIA WEARS: NIKE SPORT PACK

CAMOUFLAGE JACKET AND PANT, NIKE
SPORTSWEAR TECH PACK CROP TANK,
AND ZOOM PEGASUS TURBO XX.
Claiming the Crown
With a win at the Junior French Open under her
belt and at the start of a Pro career, WHITNEY
OSUIGWE is primed for her golden moment.

WHITNEY WEARS: NIKE SPORT PACK PARKA,

AND NIKELAB ESSENTIALS CAMOUFLAGE SHORT
 Ready to Fly
CAROLINE GARCIA doesn’t miss an
opportunity to shine for her fans.
The offensive baseliner is as steady as
they come, and with every point, there’s
an opportunity to #FlyWithCaro.

CAROLINE WEARS NIKE SPORT PACK

CAMOUFLAGE DRESS AND NIKE FLYKNIT BRA
Only the Strong
MARIA SAKKARI is as fierce and focused
as ever, employing a combination of strength
and quickness to keep her on the ball.

MARIA WEARS: NIKELAB ESSENTIALS

BASKETBALL JERSEY BOMBER JACKET, AND
NIKE SPORTSWEAR DOWN FILLED JACKET
Majesty & Might
Recognized for her high speed reactive
style, ELINA SVITOLINA knows no
bounds on the court.

ELINA WEARS: NIKE SPORT PACK

PARKA, NIKE CITY READY MOTION
ADAPT BRA, AND NIKECOURT LITE
Ways of a Warrior
With Spartan lineage, MARIA SAKKARI
demonstrates her velocity and power through her
mighty serve and dynamic groundstroke game.

MARIA WEARS: NIKE X SACAI BLAZER DUNK,

AND NIKE SPORT PACK PANT
 The Prodigy
At 16 years old and top junior in the world,
WHITNEY OSUIGWE , born into a family
of athletes, hits hard and attacks every
ball as she keeps her edge.

WHITNEY WEARS: NIKE CITY READY

TEE, AND NIKE INDY LOGO BRA
 2

PL ATE : ISTO CK /G E TTY IMAGES. G REECE : HE N RY C LARK E, VOGUE, 1973. ALL OTHERS: COURTESY OF BRANDS/WEBSITES.
9 1. F.R.S. PAJAMA SHIRT;
FORRESTLESSSLEEPERS
4 .COM. 2. MUNNU THE
GEM PALACE EARRINGS;
MUNNUTHEGEMPALACE
.COM. 3. BROTHER
VELLIES CLUTCH, $250;
BROTHERVELLIES.COM.
4. ZYNE SLIPPER, $665;
8 NET-A-PORTER.COM.
5. NATUROPATHICA ARGAN
& RETINOL WRINKLE REPAIR
NIGHT CREAM, $106;
NATUROPATHICA.COM.
6. JOHN ROBSHAW TEXTILES
SETTEE; JOHNROBSHAW
.COM. 7. BY FAR SHOE, $440;
BYFARSHOES.COM. 8. THE
VAMPIRE’S WIFE DRESS,
$1,300; THEVAMPIRESWIFE
.COM. 9. FUJIFILM INSTAX
MINI 90 NEO CLASSIC
INSTANT FILM CAMERA,
$137; BHPHOTOVIDEO.COM.

Tanzanian textiles, and Indian shimmer in

pieces perfect for globe-trotting.

612 SEPTEMBER 2018 VOGUE.COM

 8

64

5
2

MO RO CCO: ISTOC K/G E TTY IMAG ES PLUS. L IP VE IL : MARKO MAC PHE RSON .
BOGOTA: ISTOCK UNRELEASED/GETTY IMAGES. MAASAI WOMEN: COURTESY
O F ALAMA PROJECT. ALL OTHE RS: COU RTESY O F BRANDS/ WE BS ITES.
1

1. CHANTECAILLE LIP VEIL IN

PROTEA, $48; CHANTECAILLE
.COM. 2. MERCEDES
SALAZAR EARRINGS, $225;
MODAOPERANDI.COM.
3. GIORGIO ARMANI BAG,
$1,995; ARMANI.COM.
4. SLEEPER SLIP DRESS,
$390; THE-SLEEPER.COM.
5. MISSONI PANTS, $1,390;
3

615
 2

1. NIKOS KOULIS CUFF;

BERGDORF GOODMAN, NYC.
2. NIKOS KOULIS NECKLACE;
BERGDORF GOODMAN, NYC.
3. DR. BARBARA STURM
GLOW DROPS, $145;
MOLECULAR-COSMETICS.COM.
4. ZIMMERMANN DRESS, $695;
3 US.ZIMMERMANNWEAR.COM.
5. HUNTING SEASON BAG, $1,295;
NET-A-PORTER.COM. 6. FENDI X
RIMOWA SUITCASE; FENDI.COM.
7. ETRO PANTS, $1,120; ETRO
STORES. 8. MANOLO BLAHNIK
HEEL, $1,195; MANOLO BLAHNIK,
NYC. 9. MOSCHINO COUTURE
JACKET, $1,750; MOSCHINO.COM.

PALACE : DE RRY MO ORE . ALL OTH ERS : COURTESY O F B RANDS/ W EBS ITES.

616 SEPTEMBER 2018 VOGUE.COM

 S*

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OK

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G LASHE
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Available at Sephora & on grandecosmetics.com

 SHE MUST BE JOKING
CONTINUED FROM PAGE 564
and her press appearances. On the interview
circuit, she dished out some seemingly uncen-
sored stories about, for example, taking an un-
suspecting Will and Jada Pinkett Smith on a
Louisiana swamp tour she had bought cut-rate
on Groupon.
“Apparently I run my mouth a lot. But I’m
like, ‘They don’t have no idea the stuff that I
really know,’ ” Haddish says, stone-faced. “My
friends will be like, ‘Man, Tifany, they try and
say you’re spilling the tea, but you don’t actually
talk.’ ” And to media outlets milking her for
celebrity gossip, she ofers an advisory: “Some-
times I’m just tryna crack a joke.” Like with her
recent story that Drake had stood her up for
dinner. “I’m not tripping,” she says, laughing. “I
think there was going to be a group of us going.”
(Haddish is currently single but says she would
like to date. “When somebody strikes my inter-
est, I’m like, ‘Let me make some time,’ ” she says.)
She admits she’d rather foster children than have
her own. “It’s so many people like, ‘You need to
just have your own baby.’ And I’m like, ‘I already
look at myself in the mirror enough.’ ”
In a cultural climate illed with media-trained
celebrities and their perfectly manicured social
feeds, Haddish is a “regular degular shmegular
person,” as Cardi B, another celebrity whose
recent rise can in part be attributed to her re-
freshingly candid public persona, might say.
Jordan Peele, cocreator of Haddish’s current
TBS series The Last O.G., agrees that “Tifany
is very truthful and very real—that, to me, is the
cornerstone of all comedy. People can feel when
someone is lying.” For fans, Haddish’s brand
of warm sincerity can feel as airming as it is
entertaining.
In her comedy, and when you speak with her,
Haddish seems genuinely thrilled with the way
her career has taken of. She recently splurged
on a house of her own in Los Angeles—paid
for in full, “no mortgage!”—where she lives with
her two dogs, a pitbull named Dreamer and a
Maltese-Yorkie mix named Sleeper, and her cat,
Tonic, whom she adopted from the set of Keanu.
This month sees her reuniting with Girls Trip di-
rector Malcolm D. Lee in Night School, in which
she plays Kevin Hart’s overworked yet dedicated
teacher. She manages to sneak into the role her
signature phrase (“She ready!”) and dance move
(an exaggerated nae-nae). “When somebody all
of a sudden gets exponentially more famous,
you worry about their ability to keep up with
that,” says Peele. “Tifany is somebody I’m not
worried about.” Fame has crystallized much for
Haddish. “My sister was like, ‘Don’t let these
Hollywood motherfuckers use you.’ I’m like,
‘I’m here to be of service. I’m here to be used,’ ”
she says. “Don’t use me all the way up, ’cause I
need some for me, but use me.”
Decades after her father had left, Tifany re-
connected with him. Her ex-husband, a former
cop turned private investigator, wanted to im-
press her in the early days of their relationship,
620 SEPTEMBER 2018 VOGUE.COM
and set out to find Haddish’s father—which
he did. She helped her father secure his green
card and began the business of repairing their
relationship. After his death last year, she visited
Eritrea, the beautiful homeland she had, with
some skepticism, heard him describe. There, in
between getting to know her family and meeting
the president, she gave herself a baptism of sorts,
in the Red Sea. “Girl, I’m telling you, I got in
there. I felt my soul. Like, for the irst time, I’m
a complete person now. I cried a little bit,” she
says, tearing up again at the memory. “And I
prayed for my father to forgive me for thinking
that he lied to me. . . . And then I’m like, ‘Dang,
Tifany.’ I tried to let that feeling wash away and
just start really trusting.” 
THE GLOBAL TABLE
CONTINUED FROM PAGE 580
cultural exchange with people who are, by his
own account, extraordinary. Two Afghans
on his staff, Sabir and Mustafa, both from
the terrorized Ghazni province, now make his
cold-pressed juices and work in his bakery. I
ask them whether they cooked in Afghanistan.
Both nod. Sabir, who is fluent in English and
dressed immaculately in slacks and a clean white
T-shirt—even after hours of rinsing vegetables
and making juice—chuckles. In Afghanistan he
built a microlight airplane, from scratch, alone,
with no education or aircraft training, relying on
a video and bits of rickshaw and an old Toyota.
His maiden flight was reported by The Guardian
and The Christian Science Monitor—which re-
ferred to him as “Afghanistan’s Wright Brother.”
He left Afghanistan because his fame made him
a target for kidnapping by the Taliban. Shemtov
says it’s hard to watch him peel vegetables, as it
was with an Iraqi refugee he hosted for a time.
“He’d worked on electrical substations in Iraq,
and I handed him kale.”
This is not a conundrum felt at Eat Ofbeat,
a Queens, New York–based catering company
founded by grad school students and Lebanese
immigrants Manal and Wissam Kahi. Begun
in 2015 with a $25,000 grant from Columbia
Business School, Eat Offbeat hires primarily
refugees and asylum seekers—mostly women,
though a handful of men have slipped into the
ranks—who love to cook and seek audiences for
their native cuisines.
I arrive at the company’s Long Island City
headquarters at 11:00 a.m., just as the day’s
work is getting under way. The large profes-
sional kitchen is shared by a number of food
start-ups—food trucks and other idealistic den-
izens of the new food economy (one company
packages micro-greens from a nearby rooftop
garden). Only the attire of Eat Ofbeat’s chefs—
long hair swept beneath scarves, limbs covered
in silk blouses and printed skirts beneath their
aprons—and their near silence sets them apart
from the fast-moving, loud-talking, baseball
hat–wearing crowd. At a shiny prep table, a
sweet-faced Nepali woman named Aruna and
an Iranian woman named Nasrin expertly fold
rice-paper wrappers around creamy spiced spin-
ach and paneer. These dumplings are called mo-
mos—Nepalese snacks apparently familiar to
anyone who has trekked the Himalayas, but new
to me. Before I can taste them fried, however, I
must assist in stuffing and cinching hundreds
more. This is harder than it looks. My momos
are gargoyles, even after an hour of practice,
which kindly goes unremarked upon by Aruna
and Nasrin.
Between the two, there is the comfortable air
of a support group. No one is rushing. “We ar-
en’t worried yet about being as fast or productive
as we can be,” says Kahi. “We focus on consisten-
cy, everyone feeling supported, working around
their schedules, allowing for lawyers’ meetings,
ESL classes, doctors’ appointments, long com-
mutes, and chefs feeling conident enough to put
new dishes on the menu.” I’m tasked with help-
ing Nasrin and an Iraqi woman named Dhuha
make baklava. Before we begin, Dhuha delivers
frothed, icy lattes to everyone in the kitchen—
deinitively the most delicious cofee drink I’ve
ever had. I don’t know if it is Iraqi, or customary
only in Dhuha’s household, and the only tricks
she will disclose are using non-dairy creamer
(one of the world’s most underestimated ingre-
dients) and a blender. As for baklava, Dhuha
has been making it since she could walk. “For
every important event of my life,” she says, in
broken English, the lingua franca of the kitchen.
As we work, she and Nasrin discuss how to get
the vaccinations mandatory for their perma-
nent-resident applications, and by the time I
leave, full of fried momos, crisp Manchurian
cauliflower fritters, and sour cherry–pistachio
rice, I’ve witnessed the formation of an invalu-
able network. Nasrin is in a quiet hallway by the
walk-in, speaking about vaccinations to a lawyer
recommended by Dhuha.
I make one more stop: Emma’s Torch, an or-
ganization housed in a chic little bistro in Carroll
Gardens, Brooklyn, where founder Kerry Brodie
is dedicated to providing new arrivals with the
skills they need to succeed outside the sheltered
world of pop-up dinners and catering—to be-
come, perhaps, the next David Chang, Marcus
Samuelsson, or Dominique Crenn. Named for
Emma Lazarus, author of “The New Colossus,”
emblazoned on our Statue of Liberty (“Give
me your tired, your poor/Your huddled masses
yearning to breathe free,” et cetera, et cetera),
Emma’s Torch receives four students at a time
via aid groups such as the International Rescue
Committee. Over a two-month course, the or-
ganization ofers full service-industry training,
including English lessons, immersion in relevant
culinary terms, tools, and techniques.
I attend a press dinner on a beautiful spring
night, just after the restaurant’s opening in mid-
May. The irst cohort of students here includes
Mazen Khoury, an accomplished Syrian chef
who deftly grills branzino to accompany pep-
pers stewed in harissa; radiant Magedda Ar-
reaza, from Venezuela; and Shehla Shehzad,
a Pakistani woman who smiles with painful
shyness as she plates potato-pea samosas and
crisp butter-lettuce salad with asparagus. We
reporters and bloggers eat family style, at a long
table chosen and donated by Rachael Ray (and
her decorator). The food impresses, indepen-
dent of the restaurant’s mission—herb-roasted
chicken is elegantly accompanied by the sea-
son’s first zucchini; summery cavatelli, tossed
with yellow squash and green garlic, has just the
right chew; black-eyed-pea hummus—which
I know sounds transgressive—tastes like the
very best of Abu Ghosh (an Arab-Israeli village
outside Jerusalem that I can attest produces the
world’s finest hummus). Some students move
less fluently in the kitchen than others. But the
culinary director, Alexander Harris, formerly
of Union Square Hospitality Group and the
Pierre, corrects, nudges, guides. Graduates of the
Emma’s Torch training program currently cook
at The Dutch, Dizengof, Little Park; tonight’s
chefs will interview at Lafayette, Marc Forgi-
one, Haven’s Kitchen, and Loring Place. “Then
what?” I ask Brodie, anxious on the students’
behalf at the prospect of enduring such highly
visible, high-octane kitchens. “Then,” Brodie
says irmly, “they will choose. Our mantra here
is: Dream big!” 
AGE APPROPRIATE
CONTINUED FROM PAGE 585
kid’s irst job should be working as a model in
New York. That’s completely overwhelming.”
“These are children trying to understand
and fit into an adult world,” observes Maria
Bruce, LMHC, a New York–based licensed psy-
chotherapist who specializes in working with
high-achieving adolescents and adults, including
athletes, dancers, and actors. Bruce says that the
models she’s counseled struggle to navigate the
mixed signals they get on the job. “They’re told
to ‘grow up’ if they complain that they’re tired,”
she says, “and yet in other ways they’re already
treated as grown-ups.” This confusion, she says,
leads teen models to feel too uncertain of their
own authority to say no when they encounter
dicey situations. Some muster the courage to
speak up; most shut down.
“The teenage brain is sensitive to overload,”
Bruce explains. “And some of the possible psy-
chological consequences of dealing with these
stressors include low self-esteem, obsessive-
compulsive disorders, anxiety, and depression.”
Issues with body image form their own special
subcategory of model ailment. Despite eforts
throughout the fashion industry to address the
problem, eating disorders such as anorexia re-
main pervasive. Models are most vulnerable,
Bruce notes, as they cross the threshold out of
puberty and ind that size 0 samples no longer
it. It’s a moment Karen Elson remembers well.
“I was a late bloomer, and at the same time
went on birth control to control my acne,” re-
calls Elson, the flame-haired beauty who led the
wave of idiosyncratic faces that crested in the
late 1990s. “They say it’s a myth that you gain
weight, but my breasts got bigger, my hips got
bigger. I’d hear comments. One of my reps told
me he’d give me $20 for every pound I lost.”
In 1998, the same year she was honored at
the VH1/Vogue Fashion Awards as Model of
the Year, nineteen year-old Elson turned up at
Milan Fashion Week ten pounds heavier than
usual. Elson recalls that she was canceled from a
major show and wound up sitting out the rest of
the season. “Somehow that leaked to the press,”
she says with a sigh. “It was on the news—that
I was too fat to walk in Milan. I mean . . . that’s
just wrong.”
Myriad young models are flushed out of the
industry when their adult curves emerge. Others
continue to work but don’t do shows. Imaan
Hammam is one of fashion’s current superstars,
and she has the kind of healthy, toned body
many women aspire to—but says she exceeds
what some say is the regulation 34-inch hip and
so is rarely spotted on a catwalk. “So many times
I’d do ittings for shows and then they’d cut me
at the last minute,” she says. “I tried to work out,
eat healthy—but at a certain point, I had to say,
Enough. This is who I am.”
The epic finale of Versace’s spring 2018 show
featured Claudia Schifer, Carla Bruni, Helena
Christensen, Campbell, and Crawford—women
whose ages hover around 50 and who began
their careers before the cult of extreme thinness
took hold. Their return to the catwalk served as
a riposte to the idea that high fashion only looks
good on gaunt teens.
“Sometimes I look at shows and think, Who
are we talking to?” comments Chris Gay. “These
clothes are for adults—grown women. Are we
trying to project an image they can relate to, or
are we, as an industry, just entertaining ourselves
here?”
Attitudes are starting to shift at some es-
tablished European houses: When Natacha
Ramsay-Levi debuted her first collection at
Chloé last year, she caused a minor stir by open-
ing her show with model Sophie Koella. The
nineteen-year-old was willowy, to be sure, but
she also boasted noticeable curves.
“Sophie’s the perfect natural beauty, which
is the whole idea of Chloé,” Ramsay-Levi says.
“But with her proportions, you have to build
the clothes for her. You can do that with a few
looks, but you don’t have time to do that with
50. So I don’t know—maybe we need smaller
shows. Maybe we need to create space in the
show calendar so that designers have time to do
proper ittings.”
Ramsay-Levi makes an essential point: Un-
less and until the underlying dynamics of the
fashion-show economy change, the conditions
they’ve created will remain in place. Modeling
will go on being a commodity business, with one
new face easily replaced by the next. There will
be exceptions, of course—Gigi, Kendall—but as
Gay notes, “You can’t make policy around the
exception.” The eighteen-plus runway initiative
has the opposite aim: Jam the gears of the ma-
chine so it’s forced to rebuild itself.
Women’s fashion—at least the part where
models are concerned—is at a fork in the road.
Go one way, casting director Munro says, and
we’ll wind up looking like men’s fashion—a
place, in his view, where “models have generally
been treated as disposable.” The other path is
lit by the “personality” models—women with
large social-media followings who are staking
a claim on the runway not by itting a size but
by being themselves. Their distinctiveness gives
them power. It also allows fashion to reenter
the business of vaulting stars into the celebrity
irmament.
Balmain designer Olivier Rousteing has been
at the forefront of fashion casting with an eye
toward pop culture, and he attributes much of
his success at the house to the fact that, as he
puts it, “women can recognize themselves in
the Balmain vision. The women on the runway
have to be there for a reason—and the reason is
that they’re relevant to the women looking at the
show. Fashion isn’t about ‘reality,’ ” Rousteing
adds, “but its dreams have to come from reality.
That’s the only way it can be modern.”
Virgil Abloh extends that logic. Seeing reality,
for the Of-White and Louis Vuitton menswear
designer, is about seeing humanity. A self-
described fashion outsider who worked as an
architect, a gallery owner, and then as Kanye
West’s creative director before embarking on
a career in design, Abloh says he was struck,
when he started casting his shows in 2015, by
the “namelessness” of models. No other aspect
of his creative life worked that way.
“Anyone I collaborate with, I want to have a
conversation,” Abloh explains. “What are your
dreams? What do you have to say? The way I see
it, the people on my runway should be people
irst, models second. I want artists, musicians,
charismatic characters in my shows. And that’s
why it’s important to diversify this industry. Not
just in terms of black, white, brown, but in terms
of point of view. When you have people with
new ideas working in the atelier, and in upper
management, that’s when you’re going to see the
old codes break down.”
The generational shift Abloh alludes to is
already under way. Millennials are demanding
a culture of openness from brands, and so the
trend is toward a runway that welcomes all col-
ors, creeds, ages, and shapes. Streetwise labels
such as Hood by Air and Vetements ignited
fashion’s street-casting movement, and many
other brands have followed suit, exalting the in-
dividuality of models by casting from their own
communities for their shows and campaigns.
New codes are materializing. They’re updat-
ing behind the scenes, too. New York–based
Model Alliance recently announced its Respect
Program, an initiative to create industry-wide
standards for models’ working conditions. Ex-
panding on the principles outlined in the Condé
Nast vendor code of conduct, it also includes
complaint and enforcement mechanisms to
assure those standards are upheld. The aim,
says Model Alliance C O N TIN U ED O N PAG E 6 2 2
621
 founder and executive director (and model)
Sara Zif, is to dignify models as workers, peo-
ple doing a job, who have basic needs and who
deserve basic rights and protections. This may
seem obvious until you consider the tenuous
employment status of so many models, who
often work for free or for “trade”—for goods
from the brands that hire them.
“We need to inject a labor consciousness into
fashion,” says Zif. “Models are not the people
you picture when you think of workers’ rights,
but the fact is we are doing a job and deserve
to be treated fairly—just like anyone else who
works for a living.”
“The age of models is just one component of
a big conversation,” agrees Stella McCartney.
“If you have a business that employs people,
you have to be mindful of their conditions of
employment—period. There’s no reason fashion
should think it’s above that.”
McCartney goes further. Viewing the fashion
industry through the lens of sustainability, she
sees it as one piece of a very large puzzle. “We
live in a disposable culture,” she says. “With so
much on ofer, what’s even desirable anymore?
Something new is always coming through: new
models, new clothes, new TV shows, new stuf
of all kinds. How do we hit the pause button?”
A shift to using models eighteen and older on the
runway won’t solve every problem for models or
for fashion or for the world that’s helped mold
the industry into its current shape. Promising
teens will continue to be signed, no doubt, but
agencies will need to invest more time and re-
sources in their models’ development, particu-
larly as they adapt to the demands of video and
social media. “That’s changing the game,” says
Chris Gay, who points out that the qualities
these new modeling platforms reward are ones
that tend to come with maturity. “A model needs
to be dynamic, someone you want to have a
conversation with.” The ability to communicate,
Gay likes to say, is the new hip size.
“What’s great about the eighteen-plus initia-
tive is that it’s going to make everyone take stock,
look at the big picture, and say, ‘You know what?
We could do this better. Or that better,’ ” says
Mother Model Management’s Mary Clarke.
“What I’d like to see is a fashion world that the
women I know here in St. Louis can look to for
inspiration.”
Karlie Kloss believes that world is emerg-
ing even as we speak. “I’m optimistic about
this industry,” she says, “because everything
I’m seeing points toward more inclusivity and
more opportunities for models to have their
own voice.
“When I started modeling at ifteen, maybe
I was mature for my age—but still, I was if-
teen,” she says. “Over the ten years I’ve been in
the industry, I’ve changed—my body’s devel-
oped, as any woman’s does, and my mind has
developed, too.” And that, Kloss says, makes
her a better model than she was in her teens.
“It’s not about fitting a bill; it’s about what
you bring to the table, what kind of image
you project to the world. It’s not just being
seen—it’s being heard.” 

($295), sweater ($495), coach.com. Dress, $3,450;

In This Issue
Cover look 1: 138: Dress,
$14,000; select Gucci
stores. Headpiece, $5,800;
Linda’s at Bergdorf
Goodman, NYC. Manicure,
Samantha Jackson for
Pauline Briscoe. Tailor,
Della George. Cover look 2:
Dress and corset, priced
upon request; Alexander
McQueen, NYC. Earrings,
$500–$700; lynnban
.com. Manicure, Samantha
Jackson for Pauline
Briscoe. Tailor, Della
George. Contributor 196:
On Beyoncé: Custom
suit, price upon request;
Dover Street Market New
York, NYC. Cufs, price
upon request; Bergdorf
Goodman, NYC. Manicure,
Samantha Jackson for
Pauline Briscoe. Tailor,
Della George. Lives 254:
On Kassan (left): Dress,
$2,495; Chloé stores. A.P.C.
shoes, $435; A.P.C., NYC.
On Gelman: Shirt ($623)
and skirt ($616); Saks Fifth
Avenue stores. Manolo
Blahnik shoes, $625;
Manolo Blahnik, NYC.
V Life 284: Dress,
$15,300; Valentino, NYC.
Earrings, $150; Maison 10,
NYC. Sneakers, $220;
Hirshleifers, Manhasset,
NY. Sneakers (on bottom
right), $220; Hirshleifers,
Manhasset, NY. 292: Coat
($6,900) and shirt ($700);
select Gucci stores. 322:
Marques’Almeida earrings,
$250; marquesalmeida
.com. Marni coat; Marni
stores. JW Anderson
dress, price upon request;
j-w-anderson.com. Maison
Margiela coat; Maison
Margiela, NYC. Sacai
clutch; Jefrey, NYC. Marni
sandals; Marni stores.
Givenchy boots; Givenchy,
NYC. Jacquemus top and
skirt; jacquemus.com.
Maison Margiela coat
(price upon request) and
bag; Maison Margiela,
NYC. Sacai x Charlotte
Chesnais earring; Dover
Street Market New York,
NYC. 326: Ring, earrings,
and pendant also at Pippa
Small Jewellery, L.A. 334:
Top ($225), skirt ($288),
and headband ($55);
batsheva.com. 338: On
Martine (far left): Dress
(price upon request) and
blouse ($1,295); Chloé
stores. Chanel earrings,
spring 1994 collection,
from The Three Graces,
$750; thethreegraces
.com. On Gunnhild:
Jacket, $5,250; select
Tom Ford stores. Charlotte
Chesnais earring, $625;
charlottechesnais.fr. 348:
On Minher: Alexander
McQueen jacket, $3,290;
Alexander McQueen, NYC.
On Mohammed: Shirt,
$445; bodenewyork.com.
Hair, Adlena Dignam.
Makeup, Grace Ahn.
356: Boots, $1,330;
Barneys New York, NYC.
Custom lag by Alanui
creative director Carlotta
Oddi. 368: Top, pants,
and necklaces, priced
upon request; Alexander
McQueen, NYC.
HERE, THERE,
EVERYWHERE
In this story: Manicure,
Megumi Yamamoto.
500–501: On Mathé:
Jacket, $998; select Ralph
Lauren stores. Dress,
$1,995; Barneys New York,
NYC. Pandora Jewelry ring,
$90; pandora.net. Gucci
sneakers, $750; gucci
.com. On Janah: Dress,
$2,030; 180thestore
.com. Chloé boots, $1,330;
Chloé stores. On Hewson:
Jacket, $1,285; Bergdorf
Goodman, NYC. Skirt,
$7,500; select Dior stores.
Chloé boots, $2,340;
Chloé, NYC. On Akech:
Dress, $1,110; isabelmarant
.com. Nike sneakers,
$75; nike.com. On Hynes:
Jacket ($460) and jeans
($375); msgm.it. John
Smedley sweater, $250;
johnsmedley.com. On
McNally: Dress, $1,990;
Bergdorf Goodman, NYC.
Adidas Spezial sneakers,
$120; adidas.com.
502–503: On Alex: Shirt
and jeans ($195); coach
.com. On Maia: Sweater,
$1,250; select Michael
Kors stores. Ralph Lauren
skirt, $11,000; select Ralph
Lauren stores. On Cros:
Dress, $2,195; similar styles
at Stella McCartney, NYC.
Vintage hat from Early
Halloween, NYC. On Jung:
Dress, $3,200; Missoni,
NYC. Ralph Lauren henley
($245) and shirt, tied
around waist ($296); select
Ralph Lauren stores. Jill
Platner leather cuf, $550;
Jill Platner, NYC. John Hardy
bracelet, $350; johnhardy
.com. On Sivan: Jacket
($1,350), sweater ($750),
and belt ($375); Saint
Laurent, NYC. J.Crew pants,
$80; jcrew.com. 508: On
Pejić: Jacket ($5,200),
dress ($5,900), pants
($1,100), and sneakers
($650); gucci.com.
Michael Kors Collection
belt, $350; select Michael
Kors stores. Falke socks,
$28; harrys-shoes.com.
On Padukone: Jacket
($1,995), skirt ($7,500),
bag ($1,790), and shoes
($750); select Michael
Kors stores. Rag & Bone
sweater, $325; rag-bone
.com. Chanel tights, $275;
select Chanel stores. 509:
On Thunder: Coach 1941
jacket ($1,900), turtleneck
($295), and boots ($595).
Jacket, similar styles
at select Coach stores.
Turtleneck and boots at
Etro stores. John Hardy
earrings, $295; johnhardy
.com. On Stenberg: Coach
1941 dress ($995) and
turtleneck ($295); coach
.com. Echo scarf, in hair,
$39; echodesign.com.
Beladora drop earring,
$5,650 for pair; beladora
.com. John Hardy hoop
earring, $295 for pair;
johnhardy.com. 510–511:
On Chloe: Dress, price
upon request; diesel.com.
Vanessa Mooney choker,
$40; vanessamooney.com.
On Halle: Vest, $1,210;
isabelmarant.com. Dress,
$245; shopdoen.com. 516:
Skirt, $795; lisafolawiyo
.com. Title of Work bracelet,
worn as necklace, $425;
titleofwork.com. David
Yurman amulet, $395;
davidyurman.com. Pamela
Love rings, $120–$320;
pamelalove.com. Irene
Neuwirth ring, price upon
request; Irene Neuwirth,
West Hollywood, CA.
Marteau Vintage ring, $135;
marteau.co. Luv AJ ring,
price upon request; luvaj
.com. 517: On SZA: Coat
($5,325), top ($745), and
skirt ($1,050); select Miu
Miu stores. On Chamley-
Watson: Shirt, price upon
request; select Prada
stores. A.P.C. jeans, $220;
usonline.apc.fr. John Hardy
bracelet ($1,295) and ring
($2,600); johnhardy.com.
520–521: On Layne: Dress,
$3,750; Saks Fifth Avenue

622 SEPTEMBER 2018 VOGUE.COM

 stores. Ralph Lauren Jacket, $4,500; gucci.com. .com. On Sun: Coat, $5,745, COVER STORY 597: Earrings ($550) and
henley, $245; select Ralph Undercover sweater, $710; Givenchy, NYC. Belt, $760. In this story: Manicure, tote ($1,750). Earrings at
Lauren stores. Echo scarf, undercoverism.com. Shalia Earrings, $440; Marni Megumi Yamamoto. Balenciaga, Beverly Hills,
in hair, $39; echodesign dress, $320; worldofshalia stores. 549: Coat ($8,500) 586–587: On left: Helmet, CA. Tote at Balenciaga, NYC.
.com. On Turner: Dress .com. Fendi boots, $1,490; and dress ($10,000). price upon request. Coat Leather necklace, $560;
($8,350) and boots fendi.com. 532–533: Of- 550: On Grace: Coat, price ($3,213), top ($938), and select Hermès stores.
($1,491); select Louis White c/o Virgil Abloh dress upon request. Ring, $950; pants (price upon request). Badge holder ($280), bag
Vuitton stores. On Fanning: ($1,150) and sneakers davidyurman.com. Boots, On right: Face cover (price ($1,490), and sneakers
Dress, $5,900; gucci.com. ($700). Dress at Em Pty $1,695; Saint Laurent, upon request), scarf (price (price upon request);
The Frye Company boots, Gallery, NYC. Sneakers at NYC. On Rosa: Coat (price upon request), and coat select Prada stores. Marni
$278; thefryecompany of---white.com. upon request) and boots ($3,559). 588: Beaded bag, $1,830; Marni stores.
.com. On Uwiringiyimana: ($1,695). Ring, $550; hood and dress, $29,950. 598: Badge holder, $220.
Dress, $6,485; dsquared2 BEYONCÉ IN HER davidyurman.com. 589: Hood ($1,300), Necklace, price upon
.com. On Brewer: Dress, OWN WORDS 551: Coat ($6,660), dress space blanket overdress request; Balenciaga,
$1,975; Comme des In this story: Manicure, ($4,530), and wedges ($1,500), bufalo check Beverly Hills. 599: Solar
Garçons, NYC. The Frye Samantha Jackson for (price upon request); dress ($3,200), sunglasses panels, price upon request;
Company boots, $558; Pauline Briscoe. Tailor, Della select Prada stores. ($450), and gloves ($990). tesla.com. 600: Hat, $330;
thefryecompany.com. On George. 539: Earrings, 552–553: On Sun: Scarf 590: Veil (price upon select Prada stores. Chain,
Elektra: Coat ($2,900) and $478; ericksonbeamon and ruled neck tie, priced request), cape ($4,195), $1,370; Maison Margiela,
dress ($4,900); calvinklein .com. Necklaces, upon request. 554: Coat, shirt ($1,660), pants NYC. goTenna Mesh, $179
.com. On Miranda: Dress, $2,400–$4,000; Linda’s $15,100. Ugg socks, $40; ($1,340), and earrings for two; gotenna.com.
$1,290; thewebster.us. at Bergdorf Goodman, ugg.com. Boots, $750; ($525). 591: Hat, $450. Tesla Model X, $79,500;
On both: Calvin Klein NYC. 540: Dress, price Barneys New York, NYC. Coat (price upon request), tesla.com. On left: Heron
by Appointment space upon request; select Louis 555: Dress, $9,700. Coat, scarf (price upon request), Preston sweatshirt, $471;
blanket quilt, price upon Vuitton stores. Cartier ring, $2,495; Armani, NYC. top with neck rule ($495), 10corsocomo.com. On
request; Calvin Klein, NYC. price upon request; select Heels, $625; Alexandre and waist lourish (price woman sitting in SUV:
524: Blouse, $6,500; Cartier stores. Shoes, Birman, NYC. 556–557: upon request). 592–593: Balenciaga sweater,
select Chanel stores. $1,170; Barneys New York, On Elizabeth: Beret, On left: Mask ($530) and $1,050; Balenciaga, NYC.
525: On Minhaj: Tuxedo NYC. 541: Hat, price upon $175; albertusswanepoel trench coat ($3,500). 601: Coat, $6,150. Prada
($2,995), shirt, ($745), request; philiptreacy.co.uk. .com. No.21 shoes, $500; On right: Balaclava sneakers, price upon
and bow tie ($175); select Dress, $24,900; Valentino, numeroventuno.com. ($450), dress ($24,000), request; select Prada
Dolce & Gabbana stores. NYC. 542: Headpiece, On Hammam: Beret, sunglasses ($1,885), stores. DJI Phantom
On Katebi: Dress, $21,500; $5,800; Linda’s at $550; ericjavits.com. On brooch ($1,900), and body 4 Advanced, $1,199; dji.com.
Valentino, NYC. Echo Bergdorf Goodman, NYC. Champion: Trapper hat, jewelry ($7,200). Catbird
scarf, $85; echodesign Dress, $14,000; gucci.com. $175; albertusswanepoel rings, $198 each; catbirdnyc INDEX
.com. 530–531: On Iijima: 543: Custom suit, price .com. Boots, $4,250; .com. Odette New York 612: 1. Pajama shirt, price
Vetements jacket ($1,520) upon request; Dover Street brothervellies.com. On ring, $198; odetteny.com. upon request. 2. Earrings,
and boots ($2,420). Market New York, NYC. Rosa: Coat, price upon Pomellato rings, $2,970– price upon request.
Jacket at lagarconne.com. Cuf, price upon request; request; select Louis $3,150; pomellato.com. 6. Settee, $3,500. 614:
Matthew Adams Dolan Bergdorf Goodman, NYC. Vuitton stores. Hat, $450; Repossi ring, price upon 1. Bracelet, $8,535. 5. Bag,
denim jacket, $990; net- 544: Dress and petticoat, ericjavits.com. 558: Coat request; repossi.com. $2,757. 9. Skirt, $4,990.
a-porter.com. Moschino priced upon request; select ($8,000), headband 616: 1. Cuf, $12,950.
Couture hoodie, $495; Dior stores. Earrings, ($390), and kitten SHE’S ELECTRIC 2. Necklace, $351,650.
moschino.com. Duro Olowu $1,995; Saint Laurent, heels ($2,750). 559: On 594–595: In this story: 6. Suitcase, $2,350.
dress, $2,400; duroolowu NYC. 545: Dress, price Champion: Coat ($21,000) Tailor, Hailey Desjardins.
.com. R13 cap, $135; upon request; select Gucci and dress ($22,000). Coat, $7,145. Earrings, LAST LOOKS
r13denim.com. Balenciaga stores. Earrings, price upon $395; Balenciaga, Beverly 627: Earrings; select
THAN THE AUTHORIZED STORE, THE BUYER TAKES A RISK AND SHOULD USE CAUTION WHEN DOING SO.

earrings, $795; Balenciaga, request; (800) BVLGARI. SHE MUST BE JOKING Hills. Belt bag, $350; Ralph Lauren stores. 628:
Beverly Hills, CA. On In this story: Manicurist, rag-bone.com. Mini bags, Boots; select Dior stores.
ME NTIO NE D IN ITS PAGES, W E CANNOT GUARAN TE E THE AU THE NTICITY OF ME RC HAN DIS E SO LD

629: Bag, $10,000; select

BY DISCOU NTE RS. AS IS ALWAYS THE CAS E IN PURC HASIN G AN ITE M F ROM AN YW H ERE OTH ER

Gandhi: Balenciaga parka COAT CHECK Megumi Yamamoto. $5,100–$6,000; select

A WORD ABOUT DISCOUNTERS WH ILE VOGU E THOROUGH LY RES EARC HES THE COMPAN IES

($7,400) and earrings In this story: Manicure, Tailor, Cha Cha Zutic. Hermès stores. iPad Pro, Chanel stores. 633: Boots;
($795). Parka at Saks Fifth Megumi Yamamoto. Tailor, 564–565: Corset top $649; apple.com. Tablet Chloé stores. 634: Bag,
Avenue, NYC. Earrings at Lucy Falck. 546: On Sun: ($3,970), belt ($830), holder, $20; thegrommet $17,200; Marni stores. 635:
Balenciaga, Beverly Hills, Coat, $6,500. 547: Coat and sandals ($3,290); .com. 596: Hat, $330; Scarf; Dover Street Market
CA. Vetements dress, price ($25,100) and sweater Alexander McQueen, NYC. select Prada stores. New York, NYC. 638:
upon request. R13 boots, ($2,200); select Chanel Briefs, $138; toryburch Earphones, $150; apple Bag; Bergdorf Goodman,
$1,095; r13denim.com. On stores. Earring, worn as .com. Earrings, $700; .com. Chain, $1,370; NYC. 639: Shoes;
Froseth: Vetements jacket brooch, $45,000; Eleuteri, davidyurman.com. Maison Margiela, NYC. tabithasimmons.com. 642:
($1,520), dress (price NYC. Hat, $750; ericjavits goTenna Mesh, $179 Gloves; Calvin Klein, NYC.
upon request), and boots .com. 548: On Jung: Coat, ON HER OWN TERMS for two; gotenna.com. 644: Ring, $25,500; (800)
($2,420); The Webster $7,500. Dress ($5,900), In this story: Manicure, Apple watch, $600; BVLGARI. 646: Slides;
stores. Balenciaga sweater, bra ($280), and belt Megumi Yamamoto. Tailor, apple.com. 1Face watch, Simone Rocha, NYC.
$1,370; Balenciaga, NYC. ($760). Earrings, $695; Cha Cha Zutic. 574–575: $29; thegrommet.com.
R13 cap, $135; r13denim net-a-porter.com. Shoes, Dress, $960; Barneys New Hermès watch, $3,050; ALL PRICES
.com. On Sungshine: $895; christianlouboutin York, NYC. select Hermès stores. APPROXIMATE

VOGUE IS A REGISTERED TRADEMARK OF ADVANCE MAGAZINE PUBLISHERS INC. COPYRIGHT © 2018 CONDÉ NAST. ALL RIGHTS RESERVED. PRINTED IN THE U.S.A. VOLUME 208, NO. 9. VOGUE (ISSN 0042-8000) is published
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623
 ©2018 P&G
When I speak, I will be heard.

LILLY SINGH
Comedian. Truth Teller.

Lilly is fearless like that. See why at Olay.com/FaceAnything #FACEAN Y THI NG

MAP BY N ASA E ARTH OBS E RVATORY/J OSH UA STEVE N S, USIN G DATA FRO M SAN DWE LL , D. E T AL. (2014)

Ralph Lauren Collection earring, $2,500

HANDMADE IN MANHATTAN, THESE COLLARBONE-GRAZING CHANDELIER EARRINGS FEATURE WISPY TEARDROPS AND DAINTY LEAF BUDS
SET WITH CRYSTALS OF SMOKY GRAY, ROYAL PURPLE, AND LAPIS BLUE. INSPIRED BY BOHEMIAN BIJOUX OF THE NINETEENTH CENTURY, THE GOLD-PLATED
JEWELS GIVE OFF AN INHERITED AIR—THE CLEVER HANDIWORK OF ARTISANS WHO ADDED A PAINTED PATINA.

PHOTOGRAPHED BY ERIC BOMAN

SEPTEMBER 2018 VOGUE.COM 627

Last Look

COURTESY O F THE U.S. GEOLOG ICAL SU RV EY

Dior boots, $3,590

SLIP ON KNEE-SKIMMING BOOTS AND TRAVEL BACK TO 1968, THE YEAR YOUTHQUAKING STUDENTS TOOK TO PROTESTING IN PARIS STREETS—A TIME NOT SO
UNLIKE OUR OWN, AND ONE THAT PROVED RIPE WITH FASHION INSPIRATION FOR DIOR’S MARIA GRAZIA CHIURI. HERE, TEXTILE SWATCHES SCATTERED
WITH CRUDE EMBROIDERIES AND PEARL BEADS ARE PIECED TOGETHER FOR A HAUTE-HIPPIE EFFECT. BECAUSE ALL YOU NEED IS LOVE—AND THESE BOOTS.

628 SEPTEMBER 2018 VOGUE.COM

COURTESY O F THE U.S. GEOLOG ICAL SU RV EY

Chanel bag
LEAVE IT TO KARL LAGERFELD TO GIVE US A BAG THAT SEEMINGLY USHERS IN THE FUTURE WITH ITS VERY PRESENCE.
HERE, CHANEL’S CLASSIC 2.55 PURSE SHEDS ITS LEATHER SKIN FOR A WOOLLY EXTERIOR EMBROIDERED WITH LEAFY MOTIFS THAT
RECALL WOODLAND FOLIAGE CARPETS. CARRY IT WITH YOU AS THE LEAVES TURN—YOU’LL TRULY BE A SEASON AHEAD.

629
 ©2018 P&G
I have something to say. Nothing will stop me.

ALY RAISMAN
Gold Medalist.
Fearlessly Outspoken.

Aly is fearless like that. See why at Olay.com/FaceAnything # FACEAN Y THI NG

 Not just for me, but for all the girls like me.

MAMA CAX
Role Model.
Cancer Survivor.

Cax is fearless like that. See why at Olay.com/FaceAnything #FACEAN Y THI NG

 ©2018 P&G
I won’t apologize for having feelings.

DE N I SE BI DOT
Champion for Body Positivity.

Denise is fearless like that. See why at Olay.com/FaceAnything #FACEAN Y THI NG

 Last Look
N ATURE P ICTU RE LIB RARY/ALAMY STO CK PHOTO

Chloé boot, $1,890

IF SEVENTIES VIBES WERE CAPTURED BY NATACHA RAMSAY-LEVI’S SOPHOMORE COLLECTION FOR CHLOÉ, IT HAD MUCH TO DO WITH A
CERTAIN PRINT THAT DECORATED BOMBSHELL BLOUSES—ONE DEBUTED AT THE FASHION HOUSE BY KARL LAGERFELD IN 1973. HERE WE SEE IT DOUSING
A PAIR OF VELVET BOOTIES. SLIP THESE ON FOR A SURGE OF CAN-DO CONFIDENCE. “SHOES DEFINE THE ATTITUDE,” SAYS RAMSAY-LEVI.

SEPTEMBER 2018 VOGUE.COM 633

Last Look

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Marni bag
FRANCESCO RISSO’S STRUCTURED ALLIGATOR-SKIN BAG HARKS BACK TO THE LADYLIKE KISS-LOCK BAGS OF THE FIFTIES—WITH A FEW
UPDATES: THERE’S A COTTON CORD FOR A HANDLE, WHICH UNFURLS INTO A TASSEL, AND A (DETACHABLE) PHEASANT QUILL THAT TRAILS ALONG WITH IT.
“IT’S A BALANCE BETWEEN THE LOVE FOR TECHNOLOGY AND THE MOVEMENTS OF THE SOUL THAT CANNOT BE SATISFIED WITH IT,” SAYS RISSO.

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Y/Project scarf, $1,050

Y/PROJECT’S GLENN MARTENS IS FOREVER TOYING WITH PROPORTIONS, SO IT’S NOT SURPRISING TO SEE MODELS PROFFER BLANKET-SIZE
SCARVES ON HIS CATWALK. HERE, BANDS OF SORBET-COLORED FAUX FUR SIT SNUGLY NEXT TO ONE ANOTHER—ALL HAND-STITCHED WITH A HERRINGBONE
STRIPE THROWN IN. SWAG IT OVER YOUR ARM, LOOP IT AROUND YOUR NECK, OR DRAPE IT ROUND YOUR SHOULDERS—THERE’S ROOM FOR TWO.

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I see things differently. That’s all.

JILLIAN MERCADO
Voice for Diversity
in Fashion.

Jillian is fearless like that. See why at Olay.com/FaceAnything #FACEAN Y THI NG

 If I want something, nothing gets in my way.

KAY ADA M S
Sportscaster.
TV Personality.

Kay is fearless like that. See why at Olay.com/FaceAnything #FACEAN Y THI NG

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JE RE MY WE ISS, UN IV ERSITY O F AR IZONA

Dries Van Noten bag, $910

THOUGH THIS BAG IS LOGO-LESS, IT HAS DRIES VAN NOTEN WRITTEN ALL OVER IT. RUBY-RED AND EMERALD-GREEN
THREADS EMERGE FROM THE PEACOCK-EYE PATTERN TO FORM A FRINGED HANDLE, LIKE THE TRIM OF A SUMPTUOUS PILLOW.
LOOP YOUR ARM THROUGH ITS TEXTURED STRAP, AND TAKE IT FOR A STROLL: IT’S NEVER PEACOCKING WHEN IT’S DRIES.

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Tabitha Simmons x Johanna Ortiz sandal, $945

SWAROVSKI CRYSTAL BUCKLES ADORN A TROPICAL SATIN SPRAYED WITH HIBISCUS BLOOMS AND BLUE JAYS MID-FLIGHT—A PRINT
BORROWED FROM JOHANNA ORTIZ’S FLOUNCED GEORGETTE DRESSES. AND IF THE BLOCK HEEL DIDN’T DO THE TRICK, TABITHA SIMMONS
ELEVATED THE SHOE FURTHER BY ADDING MARABOU. WHY THE CLOUD OF FEATHERS? BECAUSE YOU’RE IN HIGH-HEEL HEAVEN.

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It’s not a weakness, it’s my greatest strength.

PI E RA GELAR DI
Media Mogul.
Next-Gen Boss.

Piera is fearless like that. See why at Olay.com/FaceAnything #FACEAN Y THI NG

 I have to live with purpose and without regrets.

ANGELA DIMAY UGA

Executive Chef.
Cultural Advocate.

Angela is fearless like that. See why at Olay.com/FaceAnything #FACEAN Y THI NG

 N ASA/GE TTY IMAGES

Calvin Klein 205W39NYC gloves, $850

AMERICANA MELDS WITH DISTURBIA AT RAF SIMONS’S CALVIN KLEIN, BUT HIS RECENT COLLECTION WAS NOT WITHOUT ITS ECCENTRIC
CHARMS. PIECES LIKE THESE OPERA GLOVES—WITH THEIR HUMBLE EMBROIDERED QUILTWORK, HEXAGONS OF LUMBERJACK PLAID, AND
PRAIRIE FLORALS—CREATED A HIGH-ROMANTIC FASHION MOMENT THAT OFFERED A SUPREMELY ORDERED GLIMMER OF HOPE.

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It means I’m not like anyone else.

ELYSE FOX
Filmmaker. Mental
Health Advocate.

Elyse is fearless like that. See why at Olay.com/FaceAnything #FACEAN Y THI NG

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COURTESY O F THE U.S. GEOLOG ICAL SU RV EY

Bvlgari ring
ROME WASN’T BUILT IN A DAY, AND NEITHER WAS THIS RING, WHICH IS LITERALLY THOUSANDS
OF YEARS IN THE MAKING. ENCIRCLED BY DIAMONDS AND INSETS OF RIPPLING MALACHITE IN 18K PINK GOLD IS A
COIN THAT DATES BACK TO THE TIME OF CAESAR—COMPLETE WITH ITS OWN AUTHENTICATION CERTIFICATE.

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COURTESY O F THE U.S. GEOLOG ICAL SU RV EY. DETAILS, S EE IN TH IS ISSU E.

Simone Rocha slides, $590

THE OPEN-TOE CROSS STRAPS SAY SUMMER’S DOG DAYS, WHILE THE TWEEDY TARTAN SPEAKS OF A CRISP
AUTUMN. BUT WHY STOP THERE? METALLIC TINSEL YARN AND A DIAGONAL OF JET-BLACK RESIN BEADS ADD THE KIND
OF LUSTER NEEDED TO TRANSITION FROM A LAID-BACK SATURDAY MORNING TO A SCENEY SATURDAY NIGHT.

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We are all fearless like that. Find out why at Olay.com/FaceAnything #FACEAN Y THI NG
Virgil Abloh for Serena Williams
QUEEN
Beaverton, Oregon USA
c. 2018