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 INSIDE70(6&
SEPTEMBER 2017

2EGULARS
81 <;@KFIJC<KK<I
100 MF>L<EFK@:<J
Vogues editorial staff, 2017
108 MF>L<;8@CP
See what were up to on Instagram
238 :?<:BC@JK
Autumn jackets and top-handle bags
363 JKF:B@JKJ
395 D@E;J<P<
Manolo Blahnik thrives on Russian
culture and Sicilian antiquities

)N6OGUE
141 N?8KJE<N
People, places, ideas and trends
to watch now. Edited by Julia Hobbs
155 HL@CCGFN<I
Marabou is more than just a flight
of fancy, says Ellie Pithers

6OGUE3HOPS
168 N?8KKF9LPEFN
Relaxed tailoring that makes the cut

6IEW
185 =@E<8E;;8E;P
Glam rockers HMLTD are putting
the art into pop. By Olivia Marks
187 >8C8OPHL<JK
Find your design inspiration written h!ONE WORDGUIDE
in the stars, urges Hayley Maitland TOINDIGODENIM
193 JKI@E>K?<FIP JACKETSTAILORED
The stories unlocked in Joan Didions #ALVIN+LEIN
notebooks. By Tracy Daugherty LEADSTHEWAYv
198 MF>L<K8C<EK:FEK<JK)'(. SLOW WEST, PAGE 268
This years winning entry

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Jk\ccXK\eeXekwears lace top with leather and the new demure its all in our
whip-stitching, to order. All Alexander
McQueen. Get the look: make-up by YSL analysis of autumns essential trends
Beaut. Eyes: Couture Palette Eye Contouring 231 VOGUE FOCUS
in Nude Contouring. Skin: Touche Eclat
Le Cushion; Couture Contour Sculpting LEBEFNE=FCCFN<I
Palette. Hair: Hair By Sam McKnight. Cool Bella Mackie describes how
Girl Texturising Spray; Modern Hairspray her life was upended by
Multi-Task Styling Mist. Hair: Sam McKnight.
Make-up: Val Garland. Nails: Lorraine Grifn. a social-media stalker
Set design: Michael Howells. Production: 236 FASHION TRAVEL
MarioTestino+. Digital artwork: R&D.
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G_fkf^iXg_\i1DXi`fK\jk`ef Vogue ies to the Canaries > 66


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inside70(6& When it comes
to FL rals,
WOMENS REALM a devil-may-
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care attitude
counts now
RUN WILD,
PAGE 302

Features
282 NFD<EJI<8CD
A Vogue portfolio of high-achieving
women past and present, from the
Royal Ballet to Downing Street
298 K?<?@KG8I8;<
Trends that dened the last 25 years
332 8D<I@:8E>I8==@K@
Charting the irresistible rise of Eighties
art iconoclast Jean-Michel Basquiat, by
his friends, lovers and collectors
338 :C8JJF=0)
Designers look back to remember a
pivotal year in fashion. By Sarah Harris

Fashion
244 N?<I<N<9<CFE>
How this months cover girls found
their natural habitat in Vogue.
Portraits by Mario Testino Beauty
254 J?<N?F;8I<J 345 K?<E<NJLG<INFD<E
Tap into the rhythm of the night in Make-up marvels that pack a punch
shimmering sequins and risqu vinyl.
351 ?FLJ<GF@EKJ
Photographs by Nick Knight
Fragrances of note. By Nicola Moulton
268 JCFNN<JK
352 =C@:BK?<JN@K:?
Ranch-ready Americana feels
Skincare is taking a disruptive
right at home on the range.
approach, says Nicola Moulton
Photographs by Alasdair McLellan
354 9<8LKP9@K<J
302 ILEN@C;
Scented shampoo and a sonic zapper
Roam free in a punky mix of clashing
prints. Photographs by Mario Testino 357 D8>@:N8E;J
Set eyes a-utter with a bold lash
316 K8B<K?<8KI8@E
of colour this season
Make the transfer to autumn in the new THE NEW
downtown lines. Plus, Lisa Armstrong SUPERWOMEN 359 =<<CK?<9LIEFLK
heralds the return of wearable fashion. GX^\*+, Are relentless wellness trends wearing
Photographed by Glen Luchford us down? Lottie Winter thinks so

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 &EJUPST
LETTER

4HEPARTYLINE
!LEXANDRA
3HULMANWITH
-ARIO4ESTINOTHE
0RINCEOF7ALES
AND+YLIE-INOGUE
ATAVogueCHARITY
GALA7ADDESDON
APRIL 1992 8POEFS
:&"34
t he rst issue of Vogue with my name on
the masthead as editor was April 1992,
left. The cover I had chosen was a full-
length picture of an American model, Donna
Bunte, wearing neon-blue Liza Bruce leggings,
a Bella Freud shirt and turquoise suede
Manolo Blahnik mules. The photographer
was Eric Boman, and I had pulled it out of
a fashion shoot for that issue. I didnt know
that most fashion covers were shot specically
for that purpose. Everyone around me at Vogue
hated the picture and thought it looked too
mass-market, but I liked the fact that you
could see clothes rather than a stylised head
shot. In the end, it sold very well.
That issue of Vogue also included a fashion
SEPTEMBER shoot by Terence Donovan; a tribute to Tina
2017 Chow the ex-wife of Michael Chow who
had recently died of Aids-related illness; and
a couture shoot by Patrick Demarchelier
D8I@FK<JK@EF2<I@:9FD8E28E;<IJFM<I>88I;
with dresses from Ungaro, Lacroix, Balmain
and Yves Saint Laurent (none of whom now
shows at couture) along with Dior, Chanel and
Valentino (who still do). The features included
an interview with Brad Pitt, still a relatively
up-and-coming actor, with brooding portraits
by Bruce Weber, an article on the disturbing
side-effects of aspirin, and some fashion
-ANOR*UNE
features such as The Balmain Boy, proling
the new designer at the house, Herv Pierre.
At that point we had regular cookery, travel,
wine, restaurant and motoring columns.
The arts pages covered a Robert Doisneau
exhibition taking place in Oxford, a review
of the forthcoming Steven Spielberg lm
Hook, and a short appreciation of photographer
Javier Vallhonrat by Lucinda Chambers.
Some 306 issues, 1,600 fashion shoots and, at
a calculated guess, 38,970 pages later, the world
and Vogue have both changed enormously. At
that point my job was editing 12 issues a year of
a print magazine. End of story. As I depart,
the job is still to do that, but editing the print
magazine is now a part of a whole that includes
guiding a 24/7 website, Vogue.co.uk, and
broadly overseeing digital content on myriad
platforms including Instagram, Facebook,
Twitter and Instagram Stories. At a time when
Vogue has never resonated with so many people
via these different channels, I have also been
responsible for nding new ways to keep the
title relevant, reach new audiences and create
new interest hence my launching the Vogue
Festival ve years ago, helping to mastermind
last years National Portrait Gallery exhibition,
Vogue 100: A Century of Style, keeping a watch >



&%*5034
LETTER
-ARIO4ESTINOS
FASHIONSHOOTON
3ANTORINIFORVogue tenure, but when I arrived he had never
*ANUARYAND shot a major fashion story for the
below,ANEARLY4IM
7ALKERPORTRAITIN magazine. We were the rst Vogue to
3EPTEMBER commission Tim Walker, who has
!LEXANDRA3HULMAN
WITHTHE$UCHESSOF
grown to be a key contributor over the
#AMBRIDGEATTHE past two decades, partnering with
Vogue 100EXHIBITION our fashion editor Kate Phelan. More
-AY$OLCEAND
'ABBANAMEETFANSAT recently we have been working with a
THE6OGUE younger generation of photographers
&ESTIVAL including Harley Weir, Tyrone Lebon,
RightYEARSIN
FASHIONPAGE
on a publishing programme of Vogue books,
chairing the British Fashion Council/Vogue
Designer Fashion Fund which has supported
eight years of new fashion talent, and
imagining all manner of other events which,
sadly, I wont now be there to see through.
More work, for sure, but endlessly fascinating.
The world today has smartphones and
tablets, e-commerce and Google Maps. We
also live with the challenges of Isis, Al-Qaeda
and the reinvigorated popularity of
right-wing extremism and, in this
country, the impending reality of life
after Brexit. News, whether current
affairs or fashion, is no longer broken
in print but arrives via a ping on a
screen, day and night. The globe is
a much smaller place, with travel
accessible to many more through
more affordable pricing and
initiatives such as Airbnb. And
fashion has become an enormous
global business, with international
designer stores placed like territorial
ags in expensive shopping streets
across the world, and a fast, cheap fashion
industry offering everyone the ability to buy
into the current trends as they happen. In 1992
there was no Zara, Cos or Nike on the British
high street. Dolce & Gabbana, Chlo, Bottega
Veneta, Miu Miu and Prada were only available
via department stores, if at all, and of course
most of the current generation of British fashion
talent were either not yet born or were still
testing out their drawing skills in kindergarten.
Editing British Vogue has been the greatest
of privileges and has meant that I have spent
most of my days working alongside some of
the nest creative talent around. One of the
reasons the magazine has ourished for so long
is that we have always kept our magpie eye on
new talent, and it is a matter of particular pride
D8I@FK<JK@EF2K@DN8CB<I2;8II<E><II@J?2G?FKFJ?FK
that we have had such wonderful partnerships
with such a range of photographers. Mario
Testino, the photographer of this months
cover and two stories in this issue, has probably
shot the largest number of pages during my
Jamie Hawkesworth and Colin
Dodgson, whose methods and less stylised
vision hark back to the generation of grunge
photographers such as Corinne Day and
Juergen Teller whom I commissioned back in
the early Nineties when I arrived.
But for me, the real excitement, the real
fascination has been in working alongside the
Vogue team to come up with ideas and to make
them happen. There is nothing more thrilling
than thinking of something whether that
be a shoot, an interview, a social-observation
feature or a themed issue that you want to
share with your readers, and watching it come
together and then nally appear bound in a
luscious package. I have loved all the detail,
the stuff of the magazine the headlines,
the picture research, the story you can tell in
a picture and caption. And now the ability to
break news 24 hours a day, to offer a daily
commentary and engage with an enormous
audience via social media has only added to
the fascination. For example, in this issue I am
particularly delighted to be able to feature the
Metropolitan Police commissioner, Cressida
Dick (page 282), who as I write has found
herself dealing with the terrible events at
London Bridge and Borough Market and the
aftermath of the horrendous Grenfell Tower
FI e. And, in the kind of story Vogue can do so
well, our features assistant, Hayley Maitland,
has contributed a rst-class research job of
collecting an array of oral reminiscences that
bring the late New York artist Jean-Michel
Basquiat almost back to life (page 332).
Its impossible to acknowledge everyone
who made my years at Vogue so rewarding,
but Lucinda Chambers, my fashion director
for 24 years, and Frances Bentley, my
managing editor, who kept the whole ofce
on the road for an equal amount of time, have
won my eternal thanks. But there are so many
others here who have made my job more
enjoyable and the results more interesting
than they would have been without them.
Now its time for myself and Vogue to start
on new journeys. Im very excited to see
where we both go.


&%*5034
LETTER


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B RU C E W E B E R
203 4505 803 | S H O P V E R SAC E . C O M
Billboard artwork: Andy Warhol, Elvis 11 Times (Studio Type), 1963 The Andy Warhol Foundation / ARS, photographed at The Andy Warhol Museum, Pittsburgh
CALVIN KLEIN 205W39NYC Fall 2017: photographed May 2017, Mojave Desert, California
calvinklein.com

Billboard artwork: Andy Warhol, Elvis 11 Times (Studio Type), 1963 The Andy Warhol Foundation / ARS, photographed at The Andy Warhol Museum, Pittsburgh
CALVIN KLEIN 205W39NYC Fall 2017: photographed May 2017, Mojave Desert, California
marni.com
 70(6&NOTICES ).3)$%4()3-/.4(3)335%

7PHVF
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TUBGG

To mark Alexandra Shulmans nal issue as editor-in-chief, the
magazines team assembled for a group portrait on the roof of Vogue House

1 2 4
16 3 5 6 7 9 10 11 15
12 13 14
8)04
8)O
17 18 20
8 29
31
21 23 24 25 26 28 34
 Ellie Pithers, fashion features editor.  Anna
19 22 27 30 33
Blomeeld, sub-editor.  Victoria Willan, senior 32
sub-editor.  Clare Murray, chief sub-editor. 40 45
43
 Helen Bain, acting chief sub-editor.  Emma 35 37 46
36 39 41 42 44 47 49
Hughes, sub-editor.  Hayley Maitland, features 38
assistant.  Camilla Fitz-Patrick, editorial 48
business manager. Naomi Pike, Miss Vogue
editor and social media manager. Michael 50 51 52 53 54
Trow, picture editor.  Jane Hassanali, 55
art editor.  Helen Hibbird, merchandise
editor.  Scarlett Conlon, Vogue Daily editor.
 Rachel Edwards, engagement manager.
 Carol Woolton, jewellery editor.  Philip
Jackson, junior designer.  Katie Dufort,
fashion assistant.  Parveen Narowalia, beauty and health editor.  Katie Berrington,  Alexandra Shulman, editor-in-chief.
digital content producer.  Eilidh Williamson, Vogue.co.uk arts and lifestyle editor.  Araminta  Frances Bentley, managing editor.  Jaime
designer.  Nicole Mowbray, features editor. Markes, acting fashion bookings editor. Perlman, creative director.  Sarah Harris,
 Susie Rushton, features editor.  Olivia  Nicola Moulton, beauty and health director. fashion features director.  Emily Shefeld,
Marks, commissioning editor.  Elizabeth  Beatriz de Cossio, fashion assistant. deputy editor.  Kate Phelan, senior
White, editorial coordinator.  Florence  Cai Lunn, associate picture editor.  Sacha contributing fashion editor.  Verity Parker,
Arnold, senior fashion assistant.  Katie Lowe, Forbes, special events editor.  Julia Brenard, fashion editor.  Naomi Smart, shopping editor.
fashion bookings assistant.  Sam Rogers, acting sittings editor.  Julia Hobbs, fashion  Alastair Nicol, digital picture editor.  Brooke
acting Vogue.co.uk editor.  Pom Ogilvy, news editor.  Lottie Winter, beauty assistant. Mace, senior picture researcher.  Lauren
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fashion coordinator.  Charlotte Pearson,  Lauren Murdoch-Smith, deputy beauty and Dudley, junior digital picture editor.
personal assistant to the editor.  Ben Evans, health editor.  Fiona Golfar, editor-at-large.  Serena Hood, executive fashion director.
art coordinator.  Lisa Niven, Vogue.co.uk  Lucinda Chambers, fashion director.  Phil Buckingham, art director




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marcjacobs.com
HUGOBOSS.COM

During the lifetime of British Vogue
there have been many Vogue books
published, but never one like this
ALEXANDRA SHULMAN, EDITOR-IN-CHIEF
THE OFFICIAL SIGNED
LIMITED-EDITION ANTHOLOGY
OF VOGUES CENTURY
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FOOD FOR
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VOGUE Lounge Bangkok / Shinsuke Matsukawa
VOGUECAFE.COM
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 inVOGUE
The Notorious BIG
wearing Coogi,
Versace and Kango
l

Olympic
athlete Diane
Dixon in a
Dapper Dan
Louis Vuitton Rising streetwear heroines
mash-up Valeria Semushina and,
bottom left and right, Veneda
Budny and Slick Woods

D8I:A8:F9J
7HATs
/&8
THE PEOPLE, PLACES, IDEAS
AND TRENDS TO WATCH NOW
Danielle Macdonald as
rapper Patricia Dombrowski Edited by JULIA HOBBS
in new lm Patti Cake$

Dapper Dan

5IF
MESSAGE
with LL Cool J

m ore than 30 years since it emerged, hip-hops

New School uniform of Kangol bucket hat
J<DK<OK?8D<J?L;JFE#+' 2@E;@>@K8C2@EJK8>I8D2

and chubby shearling coat has returned, in

;8GG<I;8E2<;;@<FK:?<I<&?@G?FGI8@J<;D<9P;A

part thanks to rising model and muse Slick Woods. The

Minneapolis-born catwalk star who caused a sensation
when she opened the Marc Jacobs autumn/winter 17
A8JFECCFP;$<M8EJ2D@K:?<CCJ8DJ

show, inspired by documentary Hip-Hop Evolution

embodies the modern-day revival, charisma included. (A
>L::@

native New Yorker, Jacobs is himself no stranger to the

scene rapper Riff Raff dedicated the track Marc Jacobs
to his swag-worthy designs.) Meanwhile, at Gucci,
Alessandro Michele paid homage to Eighties Harlem
tailor Dapper Dans idiosyncratic designer remixes.
Its not just the get-up thats undergoing
a rebirth. This month, the ultimate guide to
achieving hip-hop stardom comes from Gucci
Mane, whose long-awaited memoir arrives on
shelves on September 19. Or follow the ctional
story of aspiring New Jersey rapper Patricia
Dombrowski from director Geremy Jasper, in
Patti Cake$ (released on September 1). Accessorise
Marc Jacobss plush scarlet tracksuits and chunky
corduroy jackets with attitude: the New Schools postural
semantics (a term coined by philosopher Cornel West
D@LD@L

to describe the stances made famous by Run-DMC,

LL Cool J and others) are fast becoming the go-to
pose for the new generation of streetwear heroines.
Follow Italian stylist Valeria Semushina for a crash
course in how its done. >



 INVOGUE
HAIR
Slick it back: bed hair
wont do (the blanket
should be the only
suggestion of a lie-in)

HOW TO WEAR
JACKET
4HE#LINE Pull back on the
BLANKET herbal, homespun
vibe: Clines corporate
tailoring is your guide
for how to wear suiting
now wide silk lapels
and roomy power
shoulders included

SARONG

,ISTENUP
Lose the corset belt.
Its now about the
winter sarong, worn like
&7*"/
$)3*45
a front-fastening apron
Meet Joshua Leary (above), the clandestine 27-year-
old music producer from Chester who makes beats
BLANKET for Kanye West, Travis Scott, Danny Brown and Sia
Still wearing a under the alias Evian Christ (a pseudonym originally
slogan tee? Dont. cooked up to name his own football team and the
Its now all about result of clicking twice on the random article tab on
Clines pub-menu Wikipedia, which led him rst to Evian-Les-Bains,
blanket, featuring such then someone called Christianson, but there was a
treats as jam roly-poly character limit). The unintended air of mystery
and bangers and mash that has clung to the dance-music prodigy since he
(prices not subject
rst uploaded a track to YouTube in 2011 while
to inflation)
training to be a primary-school teacher, is set to
evaporate when his debut album, Revanchist, arrives
this autumn. Unbeknown to him, journalists from
The Fader and Pitchfork had picked up on the songs
and were contacting his unmanned account. Then
FOOTWEAR Kanye called. Why all the fuss? This is home-grown
ethereal dance music, as Leary describes it, and
Switch spiky stilettos
for a western heel. record label Warp (home to Brian Eno, Aphex Twin
and Kelela) doesnt ever miss a beat. Did we mention
:<C@E<

Under Phoebe Philos

watch, the cowboy boot he also pulls off full-look tennis whites year-round?
just got serious

;<J@>EJFEDFE8:F
Monaco: mega yachts and tax perks, of course, but the
Mediterraneans leading design destination? Yes: the city-state,
>@LC@8G@<ID8IK@I@2D@K:?<CCJ8DJ2DFEK<$:8ICFJF:@<K<;<J98@EJ;<D<I
A8JFECCFP;$<M8EJ2CFL@J<8C<O8E;<I>8CC<IP&<;F8I;F;<C@CC<8E;

which counts the New National Museum of Monaco, the Francis

Bacon Art Foundation and Cap Moderne among its cultural highs,
is now home to the Nomad festival (Nomadmonaco.com) the rst
annual contemporary-design event on the
Riviera. This year saw contributions from LA
artist Jennifer Guidi, designer Rick Owens,
and the Campana Brothers. Fair founders
Giorgio Pace and Nicolas Bellavance-Lecompte
are powering the Ctes cultural revival. It is
historically a region where artists would 6ILLA,A6IGIEWILL
gather. Our idea was to create a new reason HOST-ONACOSANNUAL
to rediscover the coast, says Bellavance- .OMADFESTIVAL
Left:Rock Stone
Lecompte. Check into the Socit des Bains BY!RIK,EVY
de Mer hotel for the April 2018 edition.



inVOGUE



RED STAR OVER RUSSIA ,
C<E@E>I89J AT TATE MODERN
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K_`jFZkfY\ij\\jk_\Z\ek\eXipf] THE SECRET BOOKS, kfc`]\`eKXk\Df[\iej
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 FABERGE: FROM ST PETERSBURG

RIOT DAYS, BY
MARIA ALYOKHINA
K_\GljjpI`fk
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TO SANDRINGHAM , AT THE SAINSBURY dlj`Z`Xei\]c\Zkj
CENTRE FOR VISUAL ARTS fe_\iki`XcXe[
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]lkli\ZlckZcXjj`Z%

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5*1
UIF
TDBMFT
ve been called tacky quite a lot! laughs

i Michael Halpern, the Hackney-based

candidate poised to take Bob Mackies title
as sultan of sequins. Fabulous would be a
better description: the 29-year-old Parsons and
Central Saint Martins alumnus is currently
dazzling the capitals fashion scene thanks
to his sequin-smothered debut autumn/winter
collection. The good/bad taste doublethink ;8M@;B@E>:FCC<:K@FE2><KKP2G@O<C8K<%9@Q2IFP8C
:FCC<:K@FEKILJK&?<ID8A<JKPHL<<E<C@Q89<K?@@
offers up Studio 54 references (hes a New
Yorker by birth) and an unabashedly glamorous
aesthetic: his eponymous brand is built on disco-
ready minidresses, ares and jumpsuits, drawing
an international fan base. Marion Cotillard was
the rst to wear his designs on the Croisette in
Cannes, sporting a sequined bodice complete
with 5ft train. I always reference over-the-top
opulence and juxtapose it with classic bustiers
and draping that recalls Charles James, Lacroix,
Christian Dior, says Halpern. Little wonder
D@:?8<C?8CG<IE

that he honed his instinct for glitz in the Atelier

Above:'IOVANNA%NGELBERT Versace studio, an experience he likens to
leftATLASTYEARS"RITISH nishing school Ive never felt so welcomed
&ASHION!WARDSAND-ARION
#OTILLARDAT#ANNESBOTHIN and accepted. The Versace team is like a family.
DESIGNSBY-ICHAEL(ALPERN Red-carpet dominance beckons. EP



joseph-fashion.com
 INVOGUE
ThereSSOMETHING
IRREVERENTABOUT
them Mica
!RGAARAZWEARING
AFEATHERANDVINYL the true horror of feathers. Picture
DRESSBY#ALVIN+LEIN
7.9#
PHOTOGRAPHEDBY
#RAIG-C$EAN
2VJMM
108&3
AFTER SEASONS WAITING IN THE WINGS, FEATHERS
ARE FLYING HIGH AGAIN, WRITES ELLIE PITHERS
W
hether or not you would
ever entertain feathers
probably depends on your
allergies, your proximity to Las Vegas,
and the number of hen parties youve
D8B<$LG1CL:@8G@:8%A8JFECCFP;$<M8EJ2D@K:?<CCJ8DJ
been forced to attend. For some,
=8J?@FE<;@KFI1B8K<G?<C8E%?8@I18EK?FEPKLIE<I%
theyre the frivolous birthright of the
boudoir babe, a knowing wink to
Marilyn Monroes marabou mules and
Mae Wests feather-trimmed neglige.
For others, theyre Dame Edna.
At what point did plumage make the
leap from irty to downright thirsty?
The shedding has always been a bore,
as Fred Astaire would attest Ginger
Rogers nearly quit Top Hat when he
a gang of 15 adult women sporting
fuchsia boas and L-plates, rampaging
around a market town chasing a
man with a six-pack in the interests
of celebrating a soon-to-be-lost
maidenhood. I blame Ann Summers.
The thing is, fashion didnt get the
memo and it is determined to make
feathers fabulous again. The autumn
catwalks were plump with them,
designed to inject clothes with a
glamour quotient that harked back to
old Hollywood. Uberfeminine was
the buzzword at JW Anderson, where
trailing ostrich feathers sprouted from
hems of strappy jersey dresses.
Overwhelming was the verdict at
Balenciaga, where feathers provided
the comprehensible fragment of
fabulousness for the excessive nal
look: a model bobbing down the
catwalk in a oor-length couture
gown with an XXL bag on her hip,
every inch every inch! of both
covered in feathers. At Raf Simonss
Calvin Klein show, meaning was
shifting: afxed to spray upwards on
cocktail dresses, feathers recalled a
bygone sophistication; slipped under
transparent plastic covers, they felt
odder like specimens in a Petri dish.
The prize for most subversive
plume handling must, however, go
to Miuccia Prada. Cognisant of the
sociological implications of trimming
something in feathers, she spent
last season laying the foundations
of the feathers for day formula,
slyly adorning schoolmarmish
8C9<IK8=<II<KK@
pleated knee-length skirts
in orgasmic marabou
because it was the most
silly piece to put with
reality. She went one
further for autumn,
proposing feathers as
told her she couldnt wear part of a new feminist
her dress (she described it uniform conceived to
as like the blue you nd test your theories on
in the paintings of Monet old-fashioned desire.
with myriads of ostrich The models didnt
feathers) because tiny wend their way
barbs ended up all over his seductively down a
white tie and tails. When soft-lit runway; they
JFE@8IPB@<C
Ginger threatened to swarmed decisively
walk, Astaire swallowed through a set that
his vexation, and the resembled a Seventies
feathers can be seen motel, dressed in
wafting across the screen cr ystal-embroidered
in the wake of the duo dresses and shoes
AN8E;<IJFE
dancing Cheek to Cheek. But loaded with pulsating
not even Astaire was subjected to ostrich trims. >


IN70(6&

The weapons of seduction are in feathered Calvin Klein to Uma
always the same, Miuccia explained Thurman, a woman who knows
backstage after the show. Feathers. feathers give her the old-school edge,
Lingerie. When you are an educated theyre sprouting from seams with
feminist, sometimes you reject this, abandon. Lauren Santo Domingo is
but it is true that these have stayed another feather acionado. I always
the same for many, many years. How say feathers and sequins are my two
is it that desire is necessarily linked favourite food groups. Theyre the
to these things? In other words: can clever twist that makes the evening
feathers be anything other than come- festive, she emails from New York.
to-bed? Note that as a young feminist My second wedding dress was
politics student, Prada attended feathered after the ceremony and
Marxist rallies dressed before the party, my close
head-to-toe in Yves Saint h&EATHERS friend Olivier Theyskens,
Laurent. So if anyone can
recast feathers as feminist
ANDSEQUINS who designed it, cut it in
half for me. I wore feathers
weapons, she can. AREMYTWO to the Met Ball earlier !LEXA#HUNGIN0RADA
Thats right your
feathers are feminist this
FAVOURITE this year, too; I worked
with Jack McCollough
ATTHE&ASHION!WARDS
$ECEMBER
autumn. Theyre also full FOODGROUPSv and Lazaro Hernandez [of
of spirit. My autumn Proenza Schouler] and we
collection was inspired by Niki de looked at past Comme des Garons
Saint Phalle, whose personal style was collections, which surprisingly feature
eccentric and extraordinary she often a lot of feathers. There is something
wore feathers in a spontaneous way to irreverent and a bit comical about
add character to a look, says Julie them, no?
de Libran, creative director at Agreed. My own rst step
Sonia Rykiel, who sprayed feathers towards feather rehabilitation
liberally across her loose silk came in the form of a black
dresses and suits. I nd Reformation minidress, the off-
feathers can bring a certain the-shoulder neckline trimmed Above5MA4HURMANWEARING
glamour and spirit to a with marabou. As someone !TELIER6ERSACEATTHE#ANNES
&ILM&ESTIVAL-AY
silhouette. Bruno Frisoni, who is averse to seductive
chiey responsible for footwear eveningwear, Im a little ,AUREN
fripperies at Roger Vivier, agrees. ashamed to admit that the 3ANTO
$OMINGO
Feathers bring an airy, poetic feathers induced a wiggle in IN0ROENZA
look to any kind of style a at my step. I felt like a glamorous 3CHOULER
shoe in particular becomes so sea anemone. Turns out a ATTHISYEARS
-ET'ALA
special when feathers add a tiny dose of feathers can be
lightness. I like them with a just the antidote to reality your
crystal buckle. wardrobe needs. To hijack Emily
*ULIANNE-OOREIN#ALVIN
Feathers are swarming the red Dickinson come autumn, hope +LEINATTHE-ET'ALA-AY
carpet, too. From Julianne Moore is the thing with feathers. Q Left-IUCCIA0RADA

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LOND ON B OUTIQUE - 15A NE W B OND STREET - TEL. +44 (0)207 499 22 25

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,OMAX-ODEL!LLY
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*ULIA"RENARD

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CONTACT: +44 (0) 20 77 20 97 25 WWW.THOMASSABO.COM
UK@THOMASSABO.COM

#treeoovebyTS
and then this happened.

katespade.co.uk
covent garden | sloane square
westfield london | regent street
 VOGUESHOPS
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29 BRUTON STREET MAY FAIR W1J6QP

(LONDON)
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Wool blazer, 587.

Matching trousers,
467. Both Frame,
at Net-a-Porter.com.
Poloneck, 13, Uniqlo.
Leather shoes, 70,
Mango. Silver and
9<EA8D@EMELB

agate earrings,
490, Beaulle



 VOGUESHOPS
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VOGUESHOPS
Wool-mix blazer,
120. Matching
trousers, 80. Both
H&M. Cotton-mix
shirt, 30, V by Very.
Ribbed zip-front
sweater, 175, Maje.
Suede mules, 210,
Aeyde. Silver and
agate earrings,
315, Beaulle,
at Alex Eagle.
For stockists, all
pages, see Vogue
Information

A school-blue
shirt now signals
grown-upGM air.
Ditch the denim in
favour of H&Ms
charcoal wool suit
and evening mules

9<EA8D@EMELB



Subscribe to VOGUE

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JXjjffeGif]\jj`feXc@ccld`eXk`e^F`c`jXc`^_kn\`^_kf`c[\j`^e\[]fiXcc_X`ikpg\jk_Xkgifd`j\j
kfi\m`m\Zfcfli`ejkXekcpn_`cjkkXd`e^Xe[efli`j_`e^_X`i%J`dgcpX[[XjdXccXdflekY\]fi\
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finXekXjkpc\i\]i\j_k_`jj\Xjfe#pflZXeXcjf\eafpXe\oZclj`m\),jXm`e^feZlkXe[&fiZfcfli
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 70(6&
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t heres been a new conservatism creeping

into pop culture, where amboyance is
frowned upon, muses Henry Spychalski,
frontman of six-piece HMLTD, from behind
a pair of sunglasses. From the look of him
postbox-red, second-skin PVC trousers on the
hottest day of the year, shirt unbuttoned to the
Q8:N<8IJ>CFM<;A8:B<K8E;KIFLJ<IJ#9FK?N8CK<IM8E9<@I<E;FE:B%KI8@E<IJ#8:E<JKL;@FJ%?8@I1;@8E8DF8I%D8B<$LG1K<IIP98I9<I%@EJK8CC8K@FE8IKNFIB1?@9FF@CFM<PFL)'(- #9PJ@DFEN?P9I8P
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navel and bleached blue hair (dyed emerald for

:CF:BN@J<=IFDC<=K1?<EIPN<8IJK8EBKFG#KIFLJ<IJ8E;9FFKJ#8CC>L::@%J?@IK#=I8D<%E@:FN<8IJ9CL<JL@K#J?@IK8E;K@<#8CC8C<O8E;<IDZHL<<E%;LB<N<8IJ:8G<#:?8IC<JA<==I<PCFM<I9FP%

Vogues shoot less than a week later) it doesnt

appear that hes particularly interested in what
people might deem acceptable. Nor, it seems,
do his ve male bandmates, all aged between
20 and 22, and all equally fabulously dressed.
Theyre as unapologetically amboyant as they
come not just in appearance, but in performance.
We were all quite alienated by going to
live shows and just seeing people standing on
a stage, Spychalski explains of the bands up-
close-and-personal approach to performing,
rather than the aloof stance favoured by so
many guitar bands. We dont want to be a band
in the narrow sense of the term, just writing
and recording music. We want to be more.
And they are. Indeed, art collective might
be a more appropriate description (although
7ILDBOYS(-,4$
categorisation of any kind is roundly rejected), PHOTOGRAPHEDBY
given the immersive, multisensory nature of #LARE3HILLANDAT
their acclaimed live shows each performance
comes with its own set design and the
production that goes into their brilliantly
surreal music videos. In Youtube footage, their
sweaty, sold-out gigs zz with an energy that
refuses to be contained, even on screen. This, as
one commenter writes, feels like something big.
Theyre soon to embark on a UK tour, but
when theyre not on stage, the band spend long
days in a cramped, windowless room in the
aptly named Fortress Studios, a relic of its kind
in an increasingly sterile Shoreditch, where
the smell of decades-old cigarette smoke still
lingers. If these walls could speak, they would
splutter. It feels like a tting home for the band,
whose inuences a heady mix of glam rock,
post-punk and New Romanticism, among
others are mostly rooted in a bygone era. But
although they may borrow from artists and
scenes of decades past, they are far from a
"OLD4ENDENCIES
3%3ITTINGSEDITOR
*ULIA"RENARD
pastiche. Its about re-contextualising, says
FUTURE LEGEND
Spychalski. Youve got to look backwards in GQ\[`kfi;pcXeAfe\j#Y`f^iXg_\iXe[
order to propel yourself forward. c`]\cfe^]Xef];Xm`[9fn`\#_Xjg\ee\[
While the capitals music scene may have _`jj\Zfe[YffbXYflkk_\cXk\dlj`Z`Xe%
embraced HMLTD (formerly known as David Bowie: A Life
Happy Meal Ltd, an ironic name they want )'#Gi\]XZ\ #glYc`j_\[
to distance themselves from, and to which feJ\gk\dY\i.#k\ccj
McDonalds objected), not everywhere is _`jjkfipk_ifl^_k_\
ready for the bands sound and vision. A large d\dfi`\jf]cfm\ij
reason for me coming to London in the rst Xe[i`mXcj#]i`\e[jXe[
ZfccXYfiXkfij%@eZcl[`e^
place was so that I could live and dress in a way
e\m\i$j\\e$Y\]fi\
that I felt was true to myself, says Spychalski. dXk\i`Xc#Afe\jjYffb
In Devon [where he grew up] I always had gifd`j\jkfY\fe\f]
to place a censorship on myself. We want to k_\dfjkZfcfli]lcXe[
inspire condence in people to be themselves `ek`dXk\gfikiX`kjp\k
whoever that might be. Q gX`ek\[f]9fn`\%

 GET EXCLUSIVE BEHIND THE SCENES INSIGHT

TO KEEP UPDATED, FOLLOW US ON INSTAGRAM

@CNIRESTAURANTS

70(6&
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their inuence felt on the runways this season.
Christopher Kane borrowed ying-saucer
prints from late New York artist (and devoted
futurist) Ionel Talpazan; Chanels Grand

w
hen the space race was at its
peak 50 years ago, fashion and
the arts were captivated by
visions of life across the Milky Way, from
Andr Courrges and Pierre Cardins out-
of-this-world clothing to Stanley Kubricks
groundbreaking lm 2001: A Space Odyssey.
Now were looking skywards once again. In
A8JFECCFP;$<M8EJ2D@K:?<CCJ8DJ2E8J8&AGC$:8CK<:?2J?LKK<IJKF:B
launching 33ft in the air; and Guccis
Alessandro Michele selected aliens to model
his a/w 2017 collection complete with
UFO prints on Instagram. If youre not quite
ready to sport a head-to-toe intergalactic G<I:FJJ@G8G@
KFG8Q#:IPJK8C
look, follow Coco Chanels lead and don star- 8E;G<8IC
<8II@E>J#
inspired accessories. I wanted to cover women =IFD0-'
with constellations! Stars! Stars of all sizes,
she declared of her haute-jewellery collection

February, Nasa announced the discovery of in 1932. Theres nothing like aiming high. Q
Trappist-1, a group of planets that may well
be able to support life, with further plans Universe:
afoot to launch a craft that will reach the suns Exploring the
Astronomical
atmosphere next year. Not content to follow World0HAIDON
the action from terra rma? Get your name aOUT
on the waiting list for Virgin Galactics /CTOBER
commercial space ights, due to begin
propelling passengers into a microgravity
zone 100km above the Earth next summer.
Meanwhile, Elon Musks company Space X
is gearing up to take a pair of holidaymakers
on a trip around the moon in 2018.



exclusively at
 VOGUEview
holding, she said. The notebook she
kept while writing her second novel,
Play It As It Lays (1970), now archived
in the Bancroft Library at Berkeley,
indicates how completely her authorial
self blurred into her ctional
characters personality. The novels
heroine, a brooding California woman,
compulsively collects newspaper
clippings about gruesome child
deaths. They suit her gloom. Didions
actual notebook in those days
contained such clippings, along with
handwritten commentaries she later
gave to her heroine. Often, in both
her novels and her essays, the wall
between fact and ction was thin.
As a seasoned journalist, covering
some of the late 20th centurys most
turbulent stories Vietnam, hippy
culture, the civil-rights movement
Didion carried a notebook not just to
aid her recollection but also to reveal
the gaps between private behaviours
and public roles where societys
hidden gears turned. At one point
in the notebook just released as part
of her latest book, South and West, she
compares two comments overheard
on a trip she made through the
American South. One is a remark
applauding political graft (Hes only
got four years to make his stake); the
other a surprised observation of her,
made by a fellow guest at a motel:
Hey look, theres somebody with a
bikini on. These are not just random
jottings xed coincidentally to the
page they are bits of mental string,
2EVEALINGTHEGAPS each too short to form a sociological
BETWEENPRIVATE
BEHAVIOURSANDPUBLIC thesis. But when arranged together,
ROLESx*OAN$IDIONAT they illuminate in a ash aspects of
HOMEIN#ALIFORNIAWITH
HERHUSBAND*OHN the Souths complex moral codes.
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O
n Keeping a Notebook, one
of Joan Didions early essays,
suggests jotting things down
is the minds way of saving bits of
string otherwise too short to use.
Memory is a pack-rats compulsion,
a private notebook a secret stash, a
hoard useful to no one but the hoarder.
Didion was in her early thirties,
writing about popular culture for
American fashion magazines, when
><KKP
she rst published the Notebook essay.
'REGORY$UNNE
In retrospect, she would admit that
in her youth, as in the essay, she
romanticised her self as an evolving These are
entity worth keeping track of: the not just
17-year-old drinking vodka and
orange juice on a California river random
levee, the shy 23-year-old wearing ill- jottings
tting skirts in downtown Manhattan.
Didions best writing has always
xed to
documented the breakdown of the self the page
amid uncertainty. In the Sixties and
Seventies, Americas centre was not
In many cases, keeping a notebook
was Didions way of protecting
herself. By recording specic items,
concentrating quietly to the exclusion
of past or future concerns, she said, she
remained almost invisible in dangerous
circumstances. While covering the
civil war in El Salvador in 1982, she
collected street details in a notebook
as though they were magical amulets
repelling harm: translucent corrugated
plastic windows, a taxi driver crossing
himself in an intersection, little blonde
children, silent birds. On certain
pages of the notebook, her handwriting
started out legibly then scattered
into large, hurried loops, as if Didion
were running from a sudden attack,
still scribbling, convinced that writing
would save her life. Q
South and West (4th Estate, 10) is
published on September 21



70(6&
VIEW
7INNER
5"-&/5
$0/5&45
OLIVE POMETSEY, THIS YEARS WINNER
OF VOGUES ANNUAL COMPETITION
FOR YOUNG WRITERS, IMPRESSED
THE JUDGES WITH A CAPTIVATING
ACCOUNT OF HER GHANAIAN HERITAGE
a
kwaaba, Kyerewaa! An
unfamiliar face is beaming
at me, shaking my hand.
According to them, Im home now,
and they are my family. Its taken me
11 years, but Ive nally returned. Its Hastings, 25; Cody
my 22nd birthday and, for the rst
time in my life, I wake up feeling older.
Eating breakfast at midnight and
falling in love with strangers: this is
what being 22 means to Taylor Swift.
In the music video she bounces around
in her heart-shaped sunglasses rose-
tinted, literally. With all of my friends
also celebrating their 22nd birthdays,
22 is a song Ive heard a lot over
the past year, but in Ghana, Azonto
music reigns supreme. My cousins are
shocked that I dont recognise the song
everyone is dancing to. Im shocked
that theyve never heard of Beyonc.
Half of my life has passed since
I last visited this part of me. Im
biracial: my mother British, my father
Ghanaian. The duality of my cultural

N@EE<I
FC@M<GFD<KJ<P
ILEE<I$LG
:8I8>?K8PCFI
identity is probably
obvious to many
outsiders, but only
now do I truly begin to realise the
magnitude of my mixed heritage.
Nobody here knows that its my
birthday; they are all gathered in this
village that my father grew up in for
a more solemn occasion, Grandma
Kyerewaas funeral. I had met her
twice. She is my Ghanaian namesake.
Funerals in Ghana are a big deal.
Commiserations and celebrations last
for days, and hundreds ock to pay
their respects, eat, pray and, of course,
dance to Azonto. To my younger
Above: the 2017 brother and me, its a cultural crash-
Vogue Talent course. We quickly brush up on the
Contest nalists.
Clockwise from customs. When you enter a room full
left: Helena of people, greet everyone individually,
Fletcher, 22;
Christobel working clockwise. Shake their hands,
say Akwaaba, and blush at your my seat. Theres no good reason for
Delistraty, 25; awkward pronunciation.
Caragh Taylor, 17;
Anna Samson, 24; At night I lie awake, drenched in
Amy Wakeham, 24; sweat, straining to listen to the mystic
Emma McKinlay, silence of rural Ghana. I recall my
24; Olive Pometsey,
22; Sophia father once telling me that my great-
Miller, 20 grandmother was a voodoo priestess,
and in the all-encompassing darkness
I imagine her casting charms over
the village. Here, the superstitions
that make the British side of me
raise my eyebrows make sense and
seem natural. Here, I feel her power.
I dont feel like myself.
If Ghana is my home then why am
I homesick? Im touched to nd out
that a ushing toilet has been installed
in my grandmothers house especially
for our visit, but the addition of this
luxury does not help me t in. I yearn
to be back in Britain. Im missing my
cat and, shockingly, the cold weather.
Its difcult to talk to the people my
own age how can we relate? They
ask why I cant stay for longer and if
I can help them to get passports so
that they can come to visit me. I dont
know how to give an adequate
response. I speak to two girls who say
that they wish they had lighter skin
like my mother and me.
My heart breaks.
I grew up in a small
village in East Yorkshire
and none of my friends
are black. As I struggle
to relate to my African
heritage in rural Ghana,
it dawns on me that
I have never really been
able to relate to rural
England either. Im
an outsider by default.
My friends are fantastic
but our worlds are
fundamentally different.
The disparities are slight, but
accumulated they leave me feeling
isolated. Ironically, I know that Im
not alone in this condition. Research
shows that biracial children are at
greater risk of mental-health issues
due to their inability to dene their
identity in racial terms. Conversations
about belonging dominate the
academic studies on the subject and,
for me, it all hits very close to home.
Thats if I can work out where home is.
At the funeral, a brass band plays
contagious beats and, caught by
the rhythm, everyone dances, waving
their ceremonial cloths in the air.
It looks like fun and I want to join in,
but fear ensures that I stay rmly in
me to be embarrassed no one here
would judge me but I cannot help
feeling as though my clumsy dance
moves would reveal my true identity
as a racial imposter. Race is as much of
a social construct as gender. I think of
Simone de Beauvoirs groundbreaking
feminist theories and her quote that
one is not born, but rather becomes, a
woman. Does this mean that Im still
learning to be black?
Another new face greets me with
an enthusiastic handshake and
Akwaaba. Akwaaba means welcome
in Twi, the most widely spoken
language in Ghana. I take a deep
;8II<E><II@J?
breath, welcome my Ghanaian
heritage to the surface and, as nervous
as I am, I get up and dance. Q
Design

ROKSANDA
LED
As the weather cools and we turn
to home comforts, what are the
interiors updates you need to carry
you through the season? Look to
deep inky shades and Samsungs
genius QLED television this autumn
Photographs by Graham Atkins-Hughes
Styling by Florence Rolfe

LOEWE
S
plashed across the runway at many a/w 17
shows, deep autumnal tobaccos, inky blues and
rich russets are back for the season. Embrace the
warm reds that ruled the runway at Roksanda,
the cherry leather and ice-blue clash of Anya
Hindmarch and the leafy tones of Loewe not
only in your wardrobe, but also your home. Pair them with
Samsungs most enticing television yet, and what more do
you need for winter evenings?
Its time to decode the trends at the shows and translate
them into our homes. With a plethora of incredible interiors
on offer look to Jonathan Adler, Talisman and the Conran
Shop for prime examples the time is right to up your at-
home style statements, from trinkets to technology.
ANYA HINDMARCH

Luckily for acionados of interiors, technology has come

on in leaps and bounds from the days of clunky plastic.
Whereas once we would have to sacrice a small part of our
design vision to accommodate large and often unsightly
appliances, now the team at Samsung has done away with
the tangle of cables, the army of remotes and the chunky
television set. Meet the QLED.
This curved and chrome-nished delight is a feat of both
function and design. Listening to consumer demand for a
television that looks good from every angle, Samsung gave
us the QLED; not only does it have near-invisible cables
and a remote that can control any paired device, it also has
a wealth of stand options to make sure it ts effortlessly in
any situation. Once you work out the space its going to
live in, choose the Gravity stand or Studio stand (pictured
here) or hang it on the wall with the no-gap mount to enjoy
a television that looks as good switched off as it does on.
The picture quality, it goes without saying, is second to
none, using Quantum Dot technology to achieve better
brightness and colour than other models on the market.
Rethink what television means, see colour in a new light and
welcome the brilliance of Samsung designs into your home. Q
Find out more about the QLED at Samsung.com
 VOGUE PROMOTION
4HE1,%$46
3AMSUNG
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70(6&
FOCUS

phone. It was my dad, telling me that

a man had emailed him several times
during the night, asking me to get in
touch urgently. I didnt recognise the
name and assumed it was a mistake. But
then my sister rang with a similar tale.
Confused, I checked Facebook. A
man I didnt know had messaged,
asking me to call him. Another
message minutes later, then another.
They were nonsensical and rambling.
I felt apprehensive but reasoned it
must be a mistake, someone getting
their Bellas confused. My family
agreed, and I headed to the airport
determined not to think about it again.
But day by day, the messages kept on
coming to my familys private email
accounts, to my Facebook page. I was
bombarded on Twitter, and received
Instagram follow requests (my account
is set to private). This sudden onslaught

6OLOPXO

made me slightly nauseous.

Over the course of the holiday the
messages got stranger and more urgent.
I love you, Isabella, and I know you

'0--08&3
WHEN AN INTERNET STALKER MATERIALISED IN REAL LIFE,
love me too, he wrote. Its our hearts.
All U do is attack me.
Holidaying with friends and family,
I discussed every update. We all found
it unnerving and odd. While everyone
BELLA MACKIES WORLD WAS TURNED UPSIDE-DOWN urged me to shrug the whole thing
off, it lingered in my mind even as I

h h)LOVE
ave you ever fallen down a social- We might use the word stalking lounged by the pool, and adrenaline
media hole? A quick glance at but only ippantly, because everybody rushed in each time my phone beeped.
a friends Instagram page leads does it, and it doesnt feel intrusive or YOU Back home, I called the police, who
you to click on an acquaintances
account then before you know it,
youve been looking at photographs of
a total stranger for 10 minutes,
learning things about their life that
might make them feel uncomfortable
wrong because its not real life, is it?
But while casual online snooping may
feel as if it has no actual impact, it can
take some on a more disturbing route.
On a sticky summers evening last
year, I celebrated my 33rd birthday in
)SABELLA took it seriously enough to use the
word stalking. I was surprised. My
AND understanding of stalking related to
)KNOW celebrities and obsessive fans, terrifying
YOULOVE tales such as that of Jodie Foster, whose
stalker shot Ronald Reagan in the
if they really thought about it. Its a garden full of owers. My friends METOOv hope of winning her love, or Emily
A8D@<?8NB<JNFIK?

become the norm in this age of online and I drank wine and ate pizza, and HEWROTE Maitlis, stalked by a university
communication, where our friends are I gloated about the holiday I was taking acquaintance for 25 years. This guy was
followers and were encouraged to to Italy in a few hours time. The next h)TSOUR causing me mild unease, some tears,
share our most mundane moments. morning, I awoke to a ping on my HEARTSv gnawing anxiety But stalking? >



70(6&
FOCUS
The effect of such behaviour is
to curtail a victims freedom, leaving
them feeling that they constantly
have to be careful, says the Crown
Prosecution Service of harassment
and stalking. In many cases, the
conduct might appear innocent (if it
were to be taken in isolation), but
when carried out repeatedly so as to
amount to a course of conduct,
it may then cause signicant alarm,
harassment or distress to the victim.
It was an exact description of how
I felt. Without realising, even over
two weeks, Id started repeatedly
checking the locks in my at and
taking different routes to work. A ring
on the doorbell or a call from a
withheld number set me on edge. It is
hard to put into words the feeling of
helplessness when you know someone
is watching you in real life or online
yet you know nothing about them.
I had no idea whether he lived nearby
or on the other side of the world.
Overnight, I developed a distrust of
strangers on the street. In particular,
men on their own set off anxiety in
the pit of my stomach. Each was a
potential tormentor.
Government gures say that one in
FI e women in Britain will be stalked in
her lifetime, and one in 10 men. While
7,706 cases of stalking were recorded by
police across the country between April
2013 and February 2016, the Suzy
Lamplugh Trust (which campaigns
around issues of stalking and public
safety) has been sceptical of this gure,
saying that only about half of all
victims go to the police. As a further
complication, stalking is most often
seen after a break-up, when misplaced
loyalty makes people less likely to
report it. Forty-one per cent of women
have said an ex had used social media
and technology to check up on them.
and that he lived with his dogs
far, far away from my daily life (we
both owned dogs; was that enough for
him to plunge me into this misery?).
But as the weeks rolled by and the
messages continued, it became obvious
that this man would not cease of his
own volition. I never replied to him.
No one did. That silence was obviously
not enough. Six weeks after the
campaign began, he was cautioned by
his local police some 300 miles away
and told he would be arrested if he
contacted me again. This, I was assured,
usually scares people into stopping
their campaign almost immediately.
In my case, it had the desired effect.
Cautiously, I began to hope his
behaviour had stopped for good.
Over the next few months, things
gradually went back to normal. I took
a new job, stopped checking the house
every night and began to forget about
him. And then, one Friday evening in
the autumn, as I was on my way out
of the ofce to meet friends, I received
a call from my mother. She was trying
to keep calm but her voice sounded
frantic as she told me that the man
who had been harassing me had
emailed her to say he had the address
of our former family home in London
and was going there to see me.
My months of reprieve were over.
I was both terried and furious. Why
did this man insist on stripping me
of my independence, plaguing me in
nightmares? Why should I live in fear
scared for myself, for my parents, for
my sister? I went straight to the police,
but because my stalker only had an
old address and hadnt threatened me
physically, there was little they could
do. Then, while I was still at the station,
I received a call. The man had managed
to get the address of my parents
current home and had turned up there
and refused bail, while I was plunged
into a new world of statements and
police visits and expert advisers. He
was carrying my own address on a
piece of paper in his pocket. He knew
where I lived. He wanted to meet me.
In the weeks that followed, I learnt
that my stalker had travelled to London
a number of times, documenting
places I frequented on his Instagram
account. I felt boxed in, exposed,
plagued by suspicion and paranoia.
Stalking that begins online can
quickly turn into physical harassment
a recent study showed it was present
$ID)WRITE in 94 per cent of murder cases. I was
SOMETHING lucky my stalker was arrested quickly
and remanded without bail and my
THAT family and I were fortunate enough
CHIMED to emerge physically unscathed. But
many victims are still let down, despite
WITHHIM campaigners such as the Paladin
$ID)GIVE National Stalking Advocacy Service,
which successfully lobbied for tougher
TOOMUCH sentencing and better police training.
OFMYSELF Initially, my stalker pleaded not
guilty, which meant several court dates
AWAYIN as he attempted to get bail. Friends
PUBLIC attended on my behalf, describing his
legal teams efforts to deny everything
he had done. Each time, I would hold
my breath, waiting to hear whether
I had further respite or would have to
turn my life upside-down again.
Eventually, without giving any
explanation for his actions, my
tormentor changed his plea and was
jailed for 15 months. He could be out
by the end of the year, and then
Who knows? While my initial panic
has receded, I still dont feel entirely
safe in my own home, and as this man
knows my address, I will be forced to
move when he is released. Dating in
the aftermath of this proved near
impossible, too. I couldnt make eye
contact with men I didnt know for

a
s I would nd out later, I had
no connection at all with my
stalker, although that didnt
stop people from friends to police
ofcers asking me what Id done to
attract his attention. While Ive twisted
myself into knots wondering what
kick-started this horrible obsession,
the facts remain the same. As far as I
know, I have never interacted with him
in my life. We live hundreds of miles
apart. We have no friends or interests
in common. Did I write something
that chimed with him? Did I give too
much of myself away in public? While
he seemed to know a lot about me,
I only knew his age the same as mine
demanding to see me. No longer were
his threats vague and undenable.
I dont think Ive ever cried with the
force that I did that night. I heaved
and shook and curled myself up in an
old police chair. I cried out of fear, but
also because I knew that my feeling
of safety had shifted irrevocably. Id
had the same safety concerns as most
women, but generally felt in control of
my circumstances. For many years,
Id shared details of my life on social
media, thinking I was communicating
with people who had a similar outlook
and would respect my boundaries.
For the next three nights, his emails
and messages came almost hourly.
Eventually, he was arrested at his home
months afterwards, let alone envisage
going on a date. Seeking any kind of
attention from men felt like a risk, and
the fun Id taken in meeting new
people vanished. The inherent feeling
of safety I once had has gone forever.
When we heard that my stalker had
been given a prison sentence, most
people around me assumed that this
was the end of the story, but Im not
sure I will ever be able to close the door
on it completely. I will try not to live
with one eye over my shoulder; I will
strive to see men as friends and not
threats. But while the experiences that
life hands you usually end up teaching
you something, in this case, I can see
only what has been taken from me. Q



W W W. L U I S AC E R A N O . C O M
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of autumnal hues and unlikely colour
pairings (think fuchsia and blue or
tobacco browns). And its not only the
designers who are tapping in; a stalwart
of the British high street, Matalan, has
created a seamless delivery of the key
trends for the season.
Swap your navy wool coat for a
daring red or punchy pink this winter,
and pair effortlessly with Matalans
take on psychedelic patterns. Think
eclectic glamour: bright saturated
colours on vintage-inpsired prints
bring a new direction, grounded with
washed denims and slip on mules. Its
the dandy effect started by Alessandro
Michele at Gucci, and we all want in.
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shoes. Tone down the vintage vibes
with modern minimalism, throw on a
red quilted jacket and youre instantly
in the now. From stripes to tweed,
oriental-inspired orals to bright
orange, plush grape and moody blue
colour pairings, Matalan has the
capsule wardrobe to bring instant style
to the streets.
Its all about bringing an uptown
spin to a downtown classic and fusing
the two together for a thoroughly
modern and effortlessly cool look.
Grab some bold orals, strong tailoring
and perennial denim, throw them all
together and off you go. Q
Visit Matalan.co.uk to see the full collection
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Opposite: black V-neck
cashmere sweater, 225,
Raey, at Matchesfashion.com.
This page: black goatskin coat,
3,830, Beau Souci, at Browns.
Black suede courts, 495, Manolo
Blahnik. Jewellery, Kates own.
"EAUTYNOTErecreate Kates
signature tousled look with a spritz
of Hair by Sam McKnights Cool
Girl Barely There Texture Mist, 25,
a product inspired by Kate herself.
Hair: Sam McKnight. Make-up:
Val Garland. Nails: Lorraine Grifn.
Set design: Michael Howells.
Production: MarioTestino+.
Digital artwork: R&D

8IFSF
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CFMPOH Vogue has launched the careers
of generations of names, but for
a handful of models, it truly feels
like home. Here, this months
cover girls find their fashion fit
0HOTOGRAPHSBY-ARIO4ESTINO
3TYLINGBY,UCINDA#HAMBERS


 <;@<:8DG9<CC
SinceFI rst being
photographed for Vogue in
August 2006, champion
equestrian Edie Campbell
has been riding high in the
modelling world with her
21st-century take on the
classic Sixties ingnue.
Here, the 26-year-old gives
Michael Korss sequin-and-
tassel fanfare a dose of
her signature English
eccentricity via biker boots
and brooding attitude
This page: black stretch-cady
dress with fringing, 7,050, Michael
Kors Collection. Black leather
boots, 203, New Rock Boots.
Opposite: black wool vest, 390,
Le Kilt. Beauty note: highlighting
cheekbones can enhance skin just
enough to let you keep the rest of your
make-up understated. Try YSLs
Touche Eclat Glow Shot, 22.50,
for a naturally radiant nish

 MARIO TESTINO

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it takes a lithe,
delicate body like
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see-through polka-dot
gown. The eln blonde
shot from schoolgirl
to star when she made
her debut in Vogue
at the tender age of
16: immediately after
sitting her GCSE exams,
the quintessential Brit
girl was photographed
in Montauk by
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October 2013 issue
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Hair: Sam McKnight. Make-up:
Val Garland. Nails: Mike Pocock.
Production: 10-4 Inc.
Set design: Andrea Cellerino.
Lighting: Direct. Digital artwork:
Mark Boyle at Epilogue Imaging.
-ODEL2AQUEL:IMMERMANN



 SHE
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Intoxicating fuchsia, a galaxy of sequins or a flash of transparent vinyl
The new codes in eveningwear are an invitation to dazzle
0HOTOGRAPHSBY.ICK+NIGHT3TYLINGBY+ATE-OSS





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Zanotti. "EAUTYNOTEensure waves stay loosely dened
with Philip Kingsleys Curl Activator, 19.50
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Above: chain-mail evening dress, 13,000, Versace

NICK KNIGHT 



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Tulle gown embroidered with crystals and hand-painted owers,
20,250, Gucci. Snakeskin belt, from 1,400, Nina Ricci. Leather
and vinyl mules, 475, Giuseppe Zanotti. Feather necklace, 650, Lanvin.
"EAUTYNOTE add a dramatic twist with a colour-popping fuchsia lip.
Try LOral Paris Infallible Lip Paint Lacquer in Fuchsia Wars, 6.99


NICK KNIGHT

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 Take note: ideas from the Big Country infiltrated the autumn collections.
Cue rancher shirts, homespun knits and snug shearling

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 Womens
3&"-. A look back at a quarter century of high-ying
achievers every one a leader in her eld

ogue has never dened itself as #RESSIDA$ICK

a womens magazine and our BY"ENJAMIN-C-AHON
coverage of fashion, arts and
Its been a turbulent few months
contemporary style has always
been followed by a large number
for the unappable new Met
of both men and women never commissioner, says Susie Rushton

5
more so than now. But it is also he countrys most powerful
true that over the years we have police ofcer, Cressida Dick, is
been proud supporters of, and wearing her own clothes when
even town criers for, women she arrives in south London
who have achieved great things at Vogues shoot. If it werent
in their chosen elds. for the unmarked black BMW now parked
From its launch in 1916, ostentatiously outside the ung-open studio
British Vogue has always doors engine running, two security ofcers
photographed the leading models lounging in the sunshine you could easily
and performers of the time. By the middle of the last century, its pages increasingly miss Dick, a petite 57-year-old woman
included the creative gures of the age artists, writers, lmmakers, theatre directors with short black-and-grey hair slightly swept
but during the past 25 years it has broadened its reach to acknowledge the vast to one side, dressed in a grey leopard-print
range of areas where women are now leading the eld and achieving remarkable cotton top and navy trousers, the brogues on
things. Here we have selected a number of portraits of those who have been featured her feet at a guess barely a size three.
in Vogue during the last quarter century. We show Theresa May photographed in Its the authoritative manner that gives her
1996 when she was the prospective parliamentary candidate for Maidenhead; while away. Within seconds, she has disarmed each
Amanda Levete, architect of the recently opened V&A extension, was picked out of us with a handshake, a direct smile and the
in 2009. Two women at the forefront of the current battle against extremism are improbable suggestion: Call me Cress, or
Sara Khan whose Inspire movement is playing an increasingly pivotal role and Cressida. Dick was once a top hostage
the impressive rst female head of the Metropolitan Police, Cressida Dick, interviewed negotiator, and you can see why. She chats
and photographed only weeks after the recent terrorist attacks on Manchester and easily about her morning spent at Trooping
London. The brilliant poet Carol Ann Duffy is the rst female poet laureate, and the Colour, at which some soldiers had
Ellen MacArthur was photographed fresh from her achievement of sailing around the fainted due to the heat. Then she asks each
world solo in 2005. Nothing could better demonstrate the diversity of opportunity person in the room about their job, whether
and career paths open now to the generation of today, and the possibility of they enjoy them and really listens to the
reaching the very top. Alexandra Shulman answers. Apparently aiming to please, she >



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 enquires which uniform wed prefer her to
wear for the portrait ceremonial or patrol?
admitting shed rather be dressed in the
standard-issue shirt and trousers she wears
on the streets of London, talking to the
ofcers, to the public, seeing how things
are. The photographer snaps away, Dick
preferring to smile because she thinks she
always looks so grim in photographs and
on television one of her younger
colleagues told her admiringly that, in a
recent media appearance, she looked as
nails. She hoots with laughter.
Dick is famous for her sangfroid and its
evident even now, in a moment of extreme
turmoil and tension in the capital. Her rst
duty as commissioner, in early April, was
to attend the funeral of PC Keith Palmer,
stabbed to death by a terrorist at the
Palace of Westminster. A few weeks later,
terrorists attacked London Bridge, killing
eight and injuring 48, with police ofcers
taking down the killers in eight minutes.
Days before our meeting, the horric
FI e at Grenfell Tower in north Kensington
claimed scores of lives the Met
tasked with handling the fallout.
Two days after we meet, a terrorist
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attack on the Finsbury Park
mosque adds to the sense of
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a continuing chain of major
incidents, each one a mammoth
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college), in 1979. The fund manager
undertaking for the Met. UP
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"
central character in each of these
dark episodes has been Cressida
Dick, visible on our screens
alongside Sadiq Khan, Jeremy
Corbyn and Theresa May, or at vigils, press
conferences and community meetings. As
the new head of the Metropolitan Police,
she not only leads the largest force in the
country (43,000 staff; annual budget of
3.24bn), but has oversight roles for national
counter-terrorism and the police protection
of the royal family and senior members of
the government. This is quite a stretched
time for the police, she says, and to cut to
the chase, no, I dont think the budget is big
enough to cope with what were now being
asked to do. Despite the deepening crisis
and the long hours all the Met ofcers are
working in response (Dick has been on duty
three six-day weeks in a row, with phone
calls on the seventh day), morale within the
force is high, she says. People are working
very hard, theyve been shocked by what
has happened. Theres potential for them to
get tired, but they desperately want to stop
another terrorist attack. Their resolve is
high. Its brought the public supporting the
police, even more than before. You cant
walk down the road without people coming
up to you and shaking your hand and saying


thank you for what youre doing. All the
staff say the same.
Dick had all the qualications for the
post (as acting deputy commissioner, shed
already been the forces most senior
woman), with a distinguished career of
30 years in the police, leading major
operations and departments including
counter-terrorism, gun crime and diversity.
The most notorious blot on her CV was
the 2005 killing of innocent Brazilian Jean
Charles de Menezes, in an operation led
by her, and although she was personally
exonerated of blame in the court case that
followed, it couldve stopped short her
career. Instead, in the years that followed,
she continued to rise within the Met, but
by the time she applied for the top job,
shed actually already left the police entirely
and was working at the Foreign Ofce in a
secret counter-terrorism role. I didnt sit
there and miss it, she says of her two years
out of the Met, yet shell admit, I did
slightly miss the humour, I missed the very
straightforward, honest approach to things.
with her at Balliol and remembers
She can remember exactly the moment in
February she heard shed got the job. Id been
interviewed that morning. There was one
person after me. And by lunchtime somebody
called across the ofce, Cressida, the home
secretary is on the line. So I guessed it would
be a yes or no. Advised by Amber Rudd that
the news would leak quickly, Dick had to
prepare to immediately talk to the press. But
it was very, very, very thrilling, she says now,
still sounding happy at the thought. And
I do remember thinking as I think one does
at high moments and low moments of my
mother, who died many years ago. You know,
shed just be laughing her head off at it. In a
nice way, but shed think it was hilarious. Her
little girl has done something like that.
In the 188-year history of the Met, never
before had a woman taken charge. Is she
comfortable with being a role model? I like
the idea that people might be inspired by
the fact that theres somebody a bit different,
a bit countercultural, a bit surprising [in
charge]. And I do accept it. But I dont
relish it, if Im honest. You know, I didnt
join the police to be a public gure.
Historic rsts have been a tradition within
her family. I think they always expected
some of the women to really do things.
Born in October 1960, the daughter of two
Oxford dons her father, Marcus, a professor
of philosophy, her mother, Cecilia, a historian
Dicks ancestors include the trailblazing
Scottish doctor Sophia Jex-Blake and the
19th-century abolitionist MP Thomas
Fowell Buxton. Her parents divorced when
Cressida was eight and her father died three
years later. Cressidas mother (who worked
all her life as a female academic, which was
reasonably unusual) was left getting on
with it herself in other words, raising
Cressida and her two siblings alone. Yet she
describes her childhood as privileged It
was taken for granted in my family that
anything my brother did, I should be able to
do as well. And I feel very fortunate to have
been given a degree of condence in that
way. I hope not arrogance. She attended the
Dragon School and the private Oxford
High School, and rst thought she might
want to join the police when she was 15. In
those days, they had a scheme whereby you
could spend a few days alongside the police
and I did that with the Thames Valley force.
I really liked it. My mother was worried that
Id nd policing boring and actually
I found it fantastically interesting.
Nonetheless she went to Oxford
University, as one of the rst female
students at Balliol (her fathers old
Nicola Horlick was in the same year
Dick as very sporty, into rowing,
into the running of the junior common
room, which was the major focal point of
the college. Both played in the rst-ever
college womens cricket team there were
only 23 female students to pick the entire 11
from in which Cressida was wicket keeper.
Of all the girls at Oxford, she was the most
friendly and the least bitchy, says Horlick.
She was very inclusive, very smiley, a real
team player, very enthusiastic. After a false
start in accountancy, Dick joined the Met as
a constable in 1983. When I applied, it was
very clear to me that [in the police] you have
responsibility really early. I loved the idea of
that. Id been working at an accountants
where youd be lucky if you got to write a
letter after youd been there for 10 years.
That was the main thing for me, and doing
something useful, helping people.
It is hard to imagine sexist attitudes like
those satirised by Life on Mars dampening
Dicks passion for policing, though undoubt-
edly they existed. Until 1973 women were in
an entirely separate police department, even
issued with shorter truncheons, and stark
inequalities between male and female police
ofcers were accepted as the norm. There
werent very many of us, and there were
attitudes that seem completely laughable
now. Not long before I joined, you had to
 leave if you were pregnant. And there were
lots of roles which werent really thought to be
ones that women would do, most obviously
public-order work, with protests, policing
big events and riot training. You couldnt do
that when I joined. And the things youd
think of as being more macho rearms and
dog-handling. But, she insists, the attitudes
were no different to either the big rm of
accountants, or the sh-and-chip shop where
Id worked. It was no different to the rest of
society at the time. Its just that when we look
back 35 years later, it seems mad.
Today, she says, women have complete
equality to their male counterparts her own
appointment being the nal proof. Every
opportunity that is open to the guys is open
to the girls, and has been
for years and years, she
says. And quite right,
too. Career breaks,
exible working, formal
mentoring the police
offer it all, she says,
in recruiter mode now.
When I was head of
counter-terrorism for the
Met and nationally, both
my deputies were female.
You wouldnt nd that in
any other police service
in the world, and I know
that to be the case. There
are still far more male
ofcers in the Met than
female. I dont suggest
its all xed, its all ne
look at the percentages,
says Dick. Seventy-two
per cent of constables in
the Met are male; the
gure rises to 78 per cent
of ofcers at chief inspector rank or above.
Its still seen as a male-dominated
profession, unfairly mostly. The women
who do come generally absolutely love it.
But we still dont have 50 per cent women
coming through the door, let alone in the
organisation. Thats my measure.
Has she found herself physically in peril?
I havent been in a truly, utterly terrifying
situation for a protracted period. Like most
police ofcers, Ive ended up the wrong way
up in the gutter a few times, or come off
worse in a tussle, or been confronted by
somebody with a knife all those things. But
there is something about putting the uniform
on. Youve got a role to play, to be calm, to
lead other people, to go forward when
everyone else is running away. It gives you a
sense of not of courage but, Its my job. me that, after her late mother, the person
Far from being holed up inside New
Scotland Yard, Dick is out and about. I try
not being in the ofce very much. Most of
"%.*!-).-C-!(/.
her typical day is spent in the car quite a lot,
phone calls and stuff on the road. Does she
do her own emails? She laughs. Ha, thats a
good question. I do do my own emails but
Im having a slight battle with the guys at the
moment. People in the ofce think it might
be better if they did them and weve been
getting in a bit of a muddle about that, but
I do tend to do my own emails, yes Shes
usually in central London somewhere, she
says, but she also likes to walk a lot. I go on
patrol a lot, which is one of the lovely things
about this job. I spent 15 years in specialist
crime and counter-terrorism, so I was less
with people in local policing Being
humane, showing real understanding and
sometimes even emotion isnt necessarily
something one would have listed as an
essential skill for the job 10 years ago but,
as contemporary politicians are discovering,
there is now a public demand for emotional
authenticity. Dick recognises the need for
leaders to show feeling. We need police, she
says, whether theyre the PC on the street or
the commissioner, that are going to get on
with the job, not be over-emotional. But
equally, were all human beings, and [need to]
show it when someones done something
that makes me proud. Or somethings
happened that made us all angry. That strikes
me as a sensible way to be. Ive always led
through trying to understand people.
Apart from being its highest-ranking
female, Dick is also the polices most senior
ofcer in a same-sex relationship. She tells
at the memory, Dick disappears into the
she thought of rst when she heard shed got
the job was her partner, Helen, who is a
response-team leader at a south London
police station. I rang her, and she said, Oh
God, Ive got to sit down. She was at work.
The good thing was, we knew that if I got it,
it would be fantastic and wed thought
through how life would be and it would be
positive. But also, if I hadnt got it, it wouldnt
be the end of the world. She knew life would
change, and it did.
For security reasons she cant comment on
her exact living arrangements, but she makes
it clear that she has ways to cope with the
pressure. No presenteeism, no unnecessary
late-night work calls, only three dinners a
week at which she wont drink. The way I
will relax most quickly, if Ive come home late
at night and I have to pretty much go straight
to bed, if my brain is still moving around a bit,
then I either switch on
the Archers catch-up or
I look at gardening
magazines in bed, and
Ill be gone in about
a minute. She has a
social life outside the
police her oldest
friend is an artist, she
says, and they stalk
the London galleries
together. She doesnt
eat meat and although
she says, Im not super-
t!, she has to pass
the annual tness test
required of all police
(shuttle runs) and
adores sport as much
as she did at Oxford.
I love exercise, I love
walking, at the drop
of a hat Im outdoor
swimming
Not that she can
have much time for swimming right now, or
gardening, her own garden having rather
run away a bit lately, and indeed her
ngernails are quite long for such a practical,
just-so person. Duty calls, and she jumps
from the sofa, relieved to stop talking about
herself, and moves out to her waiting car, its
engine still running all this time. Its only
once shes outside that Dick starts patting
the back pockets of her trousers, seemingly
searching for something. My warrant card,
is it in the back of the car? she calls out, and
luckily one of the security cops has found it
and hands it to her. Shes laughing, leaning
across the car roof, telling us about her mum
again. She always called it my i-den-tit-y
card. Shed say, Cressida, have you
remembered your identity? Still laughing
vehicle and it swings out of the mews, into
the city of 8 million people who rely on her
to keep them safe.


 $ARCEY"USSELL
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#AROL!NN$UFFY
BY0HILIP3INDEN
Poetry is the music of being human,
Carol Ann Duffy tells Vogue on the
occasion of her portrait being taken
in June for which our photographer
travelled to Snowdonia and to David Lloyd
Georges former home, where Duffy was
staying on a writing retreat. Appointed
poet laureate in 2009, Duffy is the rst
woman and the rst Scot to hold the
title in its near 350-year history and will
continue in the role for another two years.
No topic is off-limits as laureate, Duffy
has gifted the public poems on everything
from David Beckham to, most recently,
the snap general election. Having grown
up in what she has previously described
as a bookless home, Duffy was rst
encouraged to write by her teachers.
Now, she is one of the most studied
poets in schools. OM

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 0AULA.ICKOLDS BY*ASON"ELL
The most powerful woman in British retail is on a mission
to bring fashion to the fore at John Lewis. By Emily Shefeld
*
ts a blistering hot day in central
London, the citys skyline muted
by a milky haze. The bright light
on Oxford Street is harsh and
unforgiving, bouncing off store
windows, while the sickly stench of
diesel and burning tarmac hovers around
the hot pavements. On the rooftop of John
Lewis, however, the simmering streets seem
a world away; here a garden oasis has been
created to soothe tired shoppers and reward
their endeavours with jugs of fresh lemonade
and Campari cocktails, served among the
delphiniums and ferns. It may only be 4pm,
but the Aperol spritz is already owing,
delivered by staff in jaunty green-and-
white striped shirts and tan overalls. Paula
Nickolds, the recently appointed managing
director of the department-store chain, and
the rst woman to run John Lewis in its
153-year history, surveys the tranquil
scene with satisfaction before ducking into
one of the wooden huts, followed by two
beaming PRs.


sanguine: Well, you see, I am the eldest
If you have not already noticed, John
Lewis, middle Englands most beloved
department store, has been slowly but
assuredly undergoing a makeover. Pass
through its furniture department and you
will be accosted by gleaming Scandi pieces,
Sixties lights, Ercol dining chairs in primary
colours In the last year, it has launched
not one but two in-store fashion lines. In
particular, Modern Rarity think camel and
pigeon-grey cashmere coats and minimalist
silk shirts has been selling well, and this
spring an LA-infused denim line aimed at
young millennials, named And/Or, landed
in its stores. And how could we forget the
annual stream of television advertisements
come Christmas, wooing us with heart-
warming nostalgia? Even the haberdashery
department (where Nickolds started out 23


years ago, looking after shoehorns) has a
sprightly skip to its previous middle-aged
amble. Gaily coloured bunting hangs around
The Makery, an in-store pop-up shop for
those who want lessons in how to make
espadrilles, knickers or even knit. And the
softly spoken, condent woman sitting in
front of me is largely responsible.
I will shop in any way I am allowed: 365
days a year, 18 hours a day. I am a shopaholic,
she confesses, once the lemonade has been
ordered and biscuits have been fetched
from Waitrose. From anyone else such an
admission would cause a twinge of concern,
but its a good obsession to own when you
have just been anointed the most powerful
woman in British retail. Well, Im not always
shopping, she admits, laughing guiltily.
I often browse and explore. But my idea of
i*
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a day off is to immerse myself in shopping
or design I think the advent of the internet
has made shopping easier, but its quite a
dangerous addiction. She sighs. I am
surgically attached to my phone.
Despite her natural poise, Nickolds is
averse to the limelight, consistently diverting
praise to her team and the John Lewis
partners (who, as well as being employees,
are shareholders of the company). Earlier,
Vogues photographer teasingly asked her to
stop clenching her teeth as she posed among
the foliage for her portrait. Afterwards, she
politely but rmly signalled her discomfort
at a shot of her under an umbrella being
sprinkled with raindrops. Nickolds is savvy
enough to spot looming headlines (John
Lewis suffering heavy weather; Rainy
outlook for John Lewis). And you cant
blame her for keeping her eyes wide open.
The pressures attached to her role are
immense: she took charge of the wellbeing
of John Lewiss 12 million customers and
89,000 employees just after annual gures
revealed prot slumps of 31 per cent. Some
800 redundancies were announced in
February, and she had to warn of more to
come later this year.
Despite the gloomy forecast retail is a
testing industry, she says wryly Nickoldss
cheery positivity must be a boon to customers
and colleagues alike. She has, for instance,
approached her recent elevation with
characteristic calm. This sounds weird to
say, but as commercial director I was doing
many constituent parts of this job already. It
has felt very natural moving into the role.
As to the weight of responsibility on her
slight 43-year-old shoulders, she is also
child, so I have an overdeveloped sense of
responsibility anyway. And I know it sounds
borderline cultish, but the employees here
are the owners. They are my shareholders.
Our mission is to create a different form of G8LC8N<8IJJ?@IK#<HL@GD<EK%A<8EJ#.=FI8CCD8EB@E;%J?F<J#D8EFCF9C8?E@B
business and give more back to them, and
I nd it incredibly motivational to prove our
model can be different.
Look to Nickoldss CV and you nd
evidence of that same drive. As buying
director at John Lewis Home and
subsequently for all of the John Lewis brands
she has been hugely tenacious in pushing
for growth; repeatedly creating new lines,
investing in new stock and new design
during periods when competitors were
cutting back because of economic austerity.
I took over homeware in 2009 and it was
probably the most challenging period of my
career, she admits of that particular >
0AULA.ICKOLDS
INTHE*OHN,EWIS
ROOFGARDEN
,ONDON7(AIR
3ELENA-IDDLETON
-AKE
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6ICTORIA"OND
 learning curve. Because in 2008 the bottom
fell out of everything. It didnt seem to matter
what you did, you just couldnt move the dial.
I inherited a team who had lost their energy
and spark. During the recession, many of
the brands played safe, they took fewer
risks. I went the opposite way. We invested
in physical space and we were utterly,
ruthlessly committed to gorgeous design.
I nd it quite hard to be motivated by a
spreadsheet, she elucidates. I watched that
TED talk on Start With Why by Simon
Sinek, and it really spoke to me because I am
motivated by my sense of purpose and
ambition. Sineks quote is, Martin Luther
King didnt say, I have a plan. He said, I
have a dream. You must have a vision for
what you are trying to achieve and then you
work out how you are going to get there, not
the other way around.
4
imilarly, while the fashion market
remained sterile last year (and other
much-loved high-street brands such
as Topshop and M&S took sizeable
hits), John Lewiss fashion category grew by
3.8 per cent, also buoyed by the success of
Modern Rarity. Fashion is now the largest
part of our organisation. I dont think
customers typically think of us like that. She
describes the John Lewis fashion customer as
fashion-conscious, but its not cutting-edge
fashion they want instead its clothing that
is attering and easy. And I dont think that
is a terribly well-served sector, in a market
that is driven by trends to the exclusion of
comfort and pieces that t in with busy lives.
I am a big fan of silk blouses and no,
I cant tell you how many Ive got, she says
cheerfully of her own wardrobe. Jeans, as
opposed to pretty dresses, matched with
low heels make up the daily uniform, with
leather trousers for evening.
Although the whole fashion offering
in the Oxford Street agship still feels
confusingly broad, with too many brands
jostling side by side in one place (a more
curated edit would help to give a
stronger identity), the pieces produced in
collaboration with British designer Eudon
Choi for Modern Raritys a/w 2017
collection are a standout (last season it was
the British duo Palmer Harding). We do
have a very ambitious plan to encourage
more exclusives to John Lewis not just
collaborations and own brand but also an
emphasis on scouting emerging brands.
We need to give customers more of a
reason to come into a physical shop, and
that always has to be about the quality of
the product in front of you.
She pauses, head resting easily on one
hand, which is balanced on the wooden
trestle table between us; her gaze is steady


and a smile often tinkers at the corners of her
mouth. She seems the kind of person you
wish had been your teacher at school
invigorating but kind and often encouraging.
I doubt very much she is a shouty boss,
striding down the corridors reeling off
orders Oh God, I hate this question: what
kind of boss are you? she cringes. Im a bit
of a buttery; I dont really want to get
involved with the lesser details, so I am
unlikely to be squishing anyone. I can be
demanding but I hope in an engaging way
As to why she thinks she beat her
competitors to become the MD (only two
other women in Britain hold similarly
powerful positions in retail), she suspects
that it was less about what I did in the
moment and more about what retail needs
today. We are at a period where product and
customer people need to be CEOs. Which
is entirely her background within the rm:
from trainee at the haberdashery department,
she was catapulted to head buyer of
childrenswear aged 25 and has remained in
buying, product and customer roles. When
i5IF
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I later ask what John Lewiss greatest
attribute is against digital giants such as
Amazon (although 40 per cent of John
Lewis sales are now online, with every
partner in store recently having been
equipped with an iPad to source merchandise
faster), her answer is deceptively simple. Its
people, she says emphatically.
Today her long auburn hair is pulled into
an unfussy ponytail and her make-up is
light, while delicate diamond jewellery
decorates her earlobes and ngers. Nothing
fancy. That wouldnt do John Lewis does
not do fancy. It does, however, now
overload on fun and colour; windows pop
and at the time of going to press, its stores
were lled with a series of hugely
entertaining illustrated wooden characters
by artist Paul Thurlby. Conversely,
Nickoldss own Chiswick home, which she
shares with her husband they met at John
Lewis 14 years ago (another life employee,
he left in 2015 after 22 years) is mostly
white, with lots of clean, modern lines.
Its white, but not in a horrid sterile, you-
cant-put-a-drink-down way, its just very
neutral. Im not particularly a colour girl.
Neither of us are cooks, so I love a good-
looking kitchen, she condes, but I dont
actually use it She giggles when I ask if
she ever raids Waitrose downstairs for a
ready meal before she goes home. What
do you mean, many evenings? It is every
evening! I cannot cook!
Her husband is currently the retail
director at Clifton Nurseries; they have no
children to date, and weekends are spent at
their house on the South Coast for lots of
long walks on the beach and seeing my
dad and sisters who are nearby. And Ive
got six nephews and nieces who I spend a
lot of time with. So, yeah, I have a frenetic
week life and the polar opposite at the
weekend. Although she cites the huge
inuence of her father, an executive at
M&S, on her love of retail (she used to
accompany him to work on Saturday
mornings), it is her childhood trips to John
Lewis in Brent Cross with her mother that
she recalls most fondly. I remember and
I still feel it now an unusual feeling of
calm and excitement that came over me as
I walked through those doors. I felt like
Id come home But there was no way
I could have predicted 23 years later Id be
in this job, she smiles.
When asked if she thinks being a woman
makes a difference to what she brings to
her role, she pauses to answer carefully.
(After all, what does it say about the sad
state of workplace equality when so many
of the top jobs in this female-focused
industry are still men?) The reason I get
sensitive about this subject is because the
hype about me being female when I got
this appointment really took me by surprise;
partly it bothered me because we will
know we have really solved this question
when it is not a newspaper headline.
I grew up with two parents who were
very ambitious for their three daughters,
she continues. Not in a pushy way it is
yours for the taking. It helps to have a
working mother she was a company
secretary and she made a very conscious
decision not to teach her children to cook.
She didnt want us to be able to be
housewives. I then had the great fortune to
work for John Lewis from the day I started
full-time work, and I am still here. Forty per
cent of the board and 50 per cent of the
leadership team are women. I have always
had female role models, but Ive had great
male role models as well, so gender bias for
me has not been something I have
experienced Nickoldss mother, Sheila,
passed away last year, so she never saw me
get this job. She would have loved that, she
says sadly. And it was her doing, really. I am
conscious that women and girls in general
need to have visible role models, so if me
being a woman inspires the next generation
of female leaders, then that is a positive.
 2UTH2OGERS
BY(UGH3TEWART
Vogue last spoke to the River Cafs Ruth Rogers in 2012, as her
Michelin-starred restaurant in Hammersmith celebrated 25 years
in business. Now she's preparing for its 30th-birthday party. Its
so exciting to think that this restaurant started with nine tables and
a couple of inexperienced women in an area that nobody thought
anyone would ever travel to, says Rogers. The death of Rose [Gray,
the River Cafs co-founder] was immeasurable, but she would be so
happy to see how well the restaurant has thrived. One of the greatest
pleasures, she says, aside from cooking in a beautiful kitchen every
day, is seeing how many women are now working in the profession.
Even after 30 years, Rogerss energy and enthusiasm show little sign
of slowing. Its very compelling, she says of her career. But then, if
you find a job you like, you never have to work again. OM

!MANDA,EVETE
BY-ICHAEL4ROW
This portrait was taken around the time the architect first began working
on the new Exhibition Road Quarter at the Victoria & Albert Museum
which opened last June. For me, its success will not just be about the
gallery spaces but also the creation of the courtyard as a vital public place
for people and for London, says Levete, who has always been interested
in the wider role that buildings can play in our society. In 1999 then a
partner at Future Systems with her husband, the late Jay Kaplicky she
won the Stirling Prize for the Media Centre at Lords Cricket Ground; their
shimmering Selfridges building in Birmingham opened in 2003. Since
setting up her practice, AL_A, her reputation as a visionary in her eld has
only strengthened. Her next big job is to remodel the Paris agship Galeries
Lafayette, redefining the role of the department store in the city. OM



 %LLEN-AC!RTHUR
BY4IM7ALKER
I particularly remember the snail, says Ellen MacArthur, of her
Tim Walker portrait in the August 2005 issue of Vogue. I was
relieved that I had something to focus my attention on, as life
on the boat seemed much more normal to me at the time than
life on land. Its unsurprising, given that just months before our
shoot, MacArthur had spent 71 days at sea although theres
nothing normal about becoming the fastest person to single-
handedly circumnavigate the globe. Now she is firmly on dry land
MacArthur retired in 2009 it is her two charities, the Ellen
MacArthur Cancer Trust and Ellen MacArthur Foundation, that
are the focus of her time and of which she is immensely proud.
Her latest project sees MacArthur turn her attention on the fashion
industry: this September at Paris Fashion Week, she will launch her
Circular Fibres initiative to help build a sustainable economy for
the textile industry that is fit for the 21st century. OM

4HERESA-AY
BY#INDY0ALMANO
A scruffy appearance suggests a scruffy mind, a hopeful Conservative
MP told Vogue in 1996 for a feature entitled Can Clothes Damage Your
Career? Clearly, Theresa Mays wardrobe choices have not hampered hers
despite the medias xation with her leopard-print kitten heels and the price
of her leather trousers. Months after that interview, in which she declared
her love of wearing red, May was elected to the Commons for the rst time.
Five years later she was named chairman of the Conservative party the
]` st woman to hold the role and, after six years as home secretary, became
Britains second female prime minister. But fashion is never too far from
her mind. I watch Sex and the City, May told Vogue in 2003, but I couldnt
do my job in the shoes Sarah Jessica Parker wears. OM


 *ESSICA%NNIS (ILL
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Circus bras are the UK, the internet future PMs shoe collection for collection for Gap, Reisss Shola
opens, introduced at opening from its of choice. Theresa H&M: the with three designs dress to meet
making it M&S, followed its rst directory at May speaks at rst in sold as part of Gap the Obamas
the largest in the next store on Next.co.uk the Conservative a long line (PRODUCT) RED, the surge in web
fashion few years by Regent a year before Party Conference of designer in aid of the Global trafc causes its
store in the machine-washable Street Net-a-Porter wearing the collaborations Fund to Fight website to crash.
world at cashmere arrives on brands leopard- for the high- Aids, Tuberculosis The dress was an
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than ever: May 2017 saw 79 million page views
for that month, with nearly 3 million global users.
ALEXA CHUNG The It-Brit began modelling
as a teenager in 1999 and scored a gig presenting
Popworld in 2006. In 2009 she was made a Vogue
contributing editor, and her singular style has spawned
a book, a sell-out bag, and now her own label.
THE BUSINESS OF FASHION Imran Amed,
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THE RED CARPET The red carpet originates
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that turned it into a fashion parade, with its 1994
show hosted by Joan Rivers, critiquing frocks. Before,
actresses wore their own clothes, or dresses whipped
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 Tartan and shnets
make a formidable match,
but its Junya Watanabes
clever addition of mossy
brocade that proves
the ultimate galvaniser
Ele wears brocade and
leather biker jacket, 1,400.
Wool kilt, 2,580. Both Junya
Watanabe. Tights, 9, Phaze
Clothing. Leather boots, 685,
Dsquared2. Ear cuffs, from 310.
Nose ring, from 228. All Maria
Tash. Gold-plated hoop, 49,
Rachel Entwistle. Silver ring,
from 200, Pamela Love.
Nora wears wool and suede biker
jacket, 1,167, Junya Watanabe.
Silver drop earring, from 210.
Silver cage ring, from 200.
Both Pamela Love. Gold-plated
earring, 50, Rachel Entwistle.
Double ear cuff, 63, Maria
Black. Silver hoops, from 96
each, Maria Tash. Gold-plated
and enamel ring, 260, Dior.
Hair: Sam McKnight.
Make-up: Val Garland.
Nails: Lorraine Grifn.
Set design: Andrew Tomlinson
Production: MarioTestino+.
Digital artwork: R&D.
Models: Nora Attal,
Ele Reigate

-!2)/4%34)./
 Whither wander you:
Givenchys couture
collection was shot
through with a pioneering
spirit. Exploit it with
thicket-ready bovver boots
Opposite: Nora wears smocked blue tartan
silk-chiffon dress embellished with metal
discs, to order, Givenchy Haute Couture by
Riccardo Tisci. Leather boots, 260, New
Rock Boots. Ele wears red tartan silk-
chiffon dress embellished with crystals,
to order, Givenchy Haute Couture by
Riccardo Tisci. Leather boots and
jewellery, as before
Ruddy cheeks evoke a
roving, unruly attitude.
Roughly blend Lancme
Cushion Blush Subtil in Rose
Givre, 29.50, across cheeks
for a ush of the outdoors
This page: Ele wears sleeveless knitted
cardigan, to order, Vivienne Westwood.
Silk dress, 2,090, Andreas Kronthaler
for Vivienne Westwood. Scarf, stylists
own. Gold-plated earring, 45, Rachel
Entwistle. Nose ring, from 228.
Lip ring, from 96. Both Maria Tash


 !GOODYARN
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Ele wears felted denim jacket,
510. Knitted skirt, from
a selection. Nora wears wool
sweater, 1,080. Sequined
trousers, from a selection.
All Matty Bovan, at Selfridges.
Boots and jewellery, as before



-!2)/4%34)./ 


-!2)/4%34)./
Fran Stringers fascination with
the fileadh-mr, a precursor
of the Highland kilt, infused
her Pringle collection with a raw
energy. Exhibit A: vintage argyle
knits, cut up and remeshed
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may-care attitude counts now.
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and add multiple buckles
This page:EIDERDOWNCOATa2UCHED
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"REGAZZI"OOTSASBEFORE



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Nora wears red shearling jacket,
6,175. Black ribbed knit
skirt with gold mesh, 1,075.
Studded leather boots, 1,490.
All Alexander McQueen. Scarf,
stylists own. Ele wears black
ribbed knit dress with gold
mesh, 1,865. Studded leather
boots, 1,490. All Alexander
McQueen. Checked shirtdress,
635, Dsquared2. Scarf, stylists
own. Black ngerless gloves,
from a selection, Phaze Clothing

MARIO TESTINO 




-!2)/4%34)./
A riotous spirit
requires equally
deant hair. Twist,
turn and tousle
with GHD Root
Lift Spray, 12.95,
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Opposite: Nora wears hooded shearling
coat, 4,990. Ele wears tweed jacket
with hand-knitted collar detail, 2,925.
Both Prada. Scarf, stylists own
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This page: Nora wears checked dress,
1,995. Polka-dot top, from a selection.
Pleated cotton skirt, from a selection. All
Loewe. Boots, as before. Scarf, stylists
own. Male model: Willem Het Hart.
Menswear, with thanks to Antonio
Marras, DSquared2, Fendi, Frame,
Geoffrey B Small, Haider Ackermann,
James Lock, The National Theatre
Costume, Prada, Undercover. Thanks
to Lady St Germans and all at Port Eliot,
Lucy Scard-Morgan, Born Hectic Events,
Emma Grifths and Steph Bryan.
For stockists, all pages, see
Vogue Information

MARIO TESTINO 

 TAKE THE
A TRAIN
Uptown poise and downtown attitude meet in the new
autumn coats. From the unorthodox cut to the distinctive
fastening, this season its all about the idiosyncrasies
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 Covered from
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For stockists, all pages,
see Vogue Information

 ',%.,5#(&/2$
 3&"-
not
3"%*$"- Designers have recently returned to the dictum that
form follows function. And the results, writes Lisa Armstrong,
are the most exciting shift in fashion for ages: luxurious,
rened and whisper it wearable

"
s the fashion editor of a
newspaper with a broad
church of readers, one of
my tasks is to ensure we
feature plenty of great,
wearable things for
them to buy. Ooh, cushy,
youre thinking. How hard can that be?
On a sliding scale from having a
four-handed ayurvedic massage to going
down the mines, its closer to the former.
But that doesnt mean its always been
straightforward. There was a time, about
FI e minutes ago, when great equated
with dull; wearable had a drab undertow
that dog-whistled ageing and safe; and
commercial was viewed by many as an
insult. But not the greatest one. That was
reserved for normcore.
Back then, the tried-and-tested method
for cutting through the white noise created
by the ever-proliferating roster of brands
was for designers to lob a few outrageously
designed grenades on their catwalks. There
isnt a news organisation in the West that
could resist Jean Paul Gaultiers nunsngarters
(1989) or Alexander McQueens bumsters
(1993) or Rick Owenss a/w 15 mens
Sphinx collection, with its genitalia-ashing
cut-outs. Was it really only 2015?
God, normcore gave normal clothes
a bad name, didnt it? Thankfully the
fashion set has largely walked away from
the dad-chinos. Wearable clothes have
become rather lovely. Flattering is no
longer a term of abuse (as in Flattering?
It was practically mother-of-the-bride
an exclamation of horror expressed by one
front-rower not so long ago). Fashions
favourite new mantra is real although
dont ask anyone for a denition, unless you
want a chuckle. From Arket, the latest
high-street offering from H&M (think
Loewe meets Margaret Howell) to Calvin
Klein, Masscob to Dior, Kitri to The Row,
Victoria Beckham to Alexa Chungs new
label, the focus is on high-denition classics
many of them designed by women who
wear the clothes themselves.
It sounds safe. Some of it is safe. But the
best of it is surprisingly radical, in the truest
sense of the word. Take Gabriela Hearsts
small but exquisitely formed collections.
From the perfect trouser suit to a timeless
cream maxi, there is nothing you wouldnt
want to save up for and you may well have
to, because faultless understatement is >



 rarely cheap. Dont be deceived by its
apparent simplicity, either. It is unbelievably
painstaking getting trousers to a point
where there is no fault left to pick. It took
several seasons, conrms Hearst. Were on
track. Im on a mission to create the best-
tting pants in America. That mission
included undertaking a comprehensive
study of women of all proportions. One
needs to be patient and focused, adds
Hearst with what sounds like appropriate
understatement. She slaved over her jackets,
too. Weve perfected the t of our blazers
to a point where I am extremely satised,
she says, with almost comic restraint.
For Hearst, the design process begins and
ends with quality and subtraction. Its
about respecting the materials, concentrating
on details that arent always evident and
always asking, Does this have a function?
Purely decorative is not as attractive to me.
real values currently inspiring women. Its
about nding perfection whether its a
shirt in super-ne cotton with ties exactly
where you want them to be, or a pair of
high-waisted trousers that make you want
to wear linen again. Its the constant search
for an almost invisible luxury, and also
for pieces that will last thats whats
driving this new denition of reality.
Perfection doesnt have a lot to do with
reality, you might think, but this is fashion,
so were dealing with an aspirational
version of real. Perhaps, too, perfection is
another way of talking about mindful
consumerism. Instagram may give the
impression that the world is dominated
by narcissists, but for every amboyant
peacock theres an example of unshowy,
workable chic, complete with items that
can endlessly and proudly be re-worn.
The notion that once youve harvested your
likes on Instagram your outt is consigned
I learned more in my rst day working at
Browns than I did in two years of college.
When a woman actually came in and
bought a pair of trousers, I was shocked.
Nowadays, whenever hes invited to teach
students, he always asks them, Whos
going to buy this? If they cant answer, then
they havent designed for anyone.
Others are asking the same question.
Accessories may still be the industrys
energy source, but theyre a negligible factor
for niche labels such as Gabriela Hearst
whose stealth growth hasnt gone unnoticed
by the big boys. For a fashion brand to have
traction now, it needs to produce those
ready-to-wear pieces that get talked about
and worn, says brand consultant Anita
Borzyszkowska. Every label is looking to
distinguish itself through its own distinctive,
denitive piece, whether its Diors Bar
jacket (now lighter and easier than ever to
slot into your existing wardrobe, including

5
his approach reminds me of
something Helmut Lang told
me years ago about how he
always set out each season with
a blank sheet not to create something
with lots of bells and whistles, but to take it
right back to its essence. The image of Lang
poring over a drawing of a white T-shirt or
pair of black trousers, constantly rening,
redrafting, reaching for the supra-essence of
a T-shirt and black trousers, has always
struck me as the purest kind of design.
Lang was operating in the comparative
Dark Ages as far as technical fabrics
were concerned. Today, almost all of
the most genuinely groundbreaking
moments in fashion are courtesy of fabric
innovation, says Maria Lemos, founder
of Rainbow Wave Showroom and owner
of Marylebones Mouki Mou, one of the
best-edited boutiques in the world.
The developments are often to do with
minimising waste Hearsts recycling of
deadstock cashmere from Loro Piana,
turning otherwise redundant and non-
biodegradable plastics into chi-chic
gymwear (Lucas Hugh), splicing basics
into versatile new hybrids (Sacai) or, in
Valentinos case, elevating the breathable,
washable baselines of athletic clothing to
a more luxurious plateau. The great names
in fashion the ones who make clothes
with longevity are the ones who really
focus on design rather than transitory
statements, says Lemos. I truly believe
theres a waning appetite for obvious trends
and gimmicks. In fact, I know there is,
because that was the catalyst for opening
my store. Lemos cites names such as Soe
dHoore, Arts & Science, Christophe
Lemaire, Crista Seya and the Japanese label
45rpm as champions of the rened-but-
to history is increasingly out of step with the
industrys (belated) embrace of sustainability.
Talking of Instagram likes they have
their pluses. Designers havent had such
h)TSABOUTTHE
CONSTANTSEARCH
FORANALMOST
INVISIBLELUXURYv
direct access to their customers since the
days when Coco and Christian stalked
through their respective salons. What
theyre discovering is that women in their
FI ties, sixties and beyond are continuing to
interest themselves in style; that, even at the
luxury end, consumers have become much
more considered in their purchases and
that theyre working in environments where
the sartorial bar is constantly being raised.
Smart-casual may be the ofcial instruction
in many ofces, but every style-conscious
woman knows this is code for a complex web
of nuances and expectations that requires an
intelligent, form-meets-function approach.
As a result, the industry is overhauling its
priorities. Its no coincidence that one of
the most commented-on collections among
the a/w 17 shows last March was Max
Mara, with its utterly desirable, built- and
designed-to-last camel and grey coats and
gentle tailoring. Its funny, says Ian
Grifths, a Yorkshireman who has helmed
Max Mara for three decades, because
when I started training, it wasnt remotely
fashionable among my peers to design
wearable clothes. I never gave a thought
to who might wear what I was designing.
the denim section) or Clines lush suede
trenchcoats. Its not enough just to sell
bags. That can make you protable, but not
necessarily a fashion player.
Its no accident that resort and pre-
collections traditionally the tamer
iteration of a designers output account for
between 70 and 80 per cent of many brands
clothing sales. Yet while the settings for
resort shows have become wildly elaborate,
blow-the-budget cinescapes, the clothes
themselves remain rooted in pragmatism.
Im obsessed with making beautiful clothes
that arent too precious, Pierpaolo Piccioli
told me after his latest Valentino resort
show, which interpolated sporty drawstrings
and tracksuits into Valentinos rened-lady
world. I hate it when beautiful things
pretend to be more beautiful than they are,
or when they make a big deal about their
complexity. This isnt an argument for
simplistic reductivity. I like complexity, he
says, its just that I like it to look effortless
and simple. But to get there you have to go
through a lot of hard work and process.
Those who lament the days of Jean Paul
Gaultiers sexually transgressive cone-bras
or Rei Kawakubos shape-redening bump
collection may be missing the subtler
boundary-pushing of todays designers.
A lot of whats most experimental today is
hidden, says Lemos. Its about supporting
traditional artisanal skills, adopting a
closed-loop production process and
ideally local materials.
The most noteworthy designers are
honing their own versions of basics, agrees
Borzyszkowska, whose personal stock of
Balenciaga pieces from 15 years ago still
forms the backbone of her wardrobe.
Theyre not necessarily the catwalk
statements but the stuff that makes you



 look and feel fabulous. In a way, a Museum of Art where, as it happens,
jumper thats discreet but striking is this years fashion exhibit is entitled
the hardest thing to design of all. Rei Kawakubo/Comme des Garons:
If guerrilla-type catwalk tactics and Art of the In-Between?
schlocky statements have become less Much as the latter was welcomed
overt, shows have arguably become as a timely tribute to one of fashions
more thought-provoking. Alessandro greatest creative mavericks, it was also
Micheles gender-uid clothes and noted that almost no one attending
casting at Gucci. Vivienne Westwoods the totemic Met Ball that traditionally
eco mantra. Dolce & Gabbanas opens the exhibition was actually
multi-generational line-up of (largely) wearing the designers clothes.
non-professional models. The not- Then again, when anyone can buy
so-subliminal message here is less a passable copy of an asymmetric
about challenging clothes and more -ILAN Vetements dress in Zara within weeks
&ASHION7EEK
about social commentary and (in AW of its catwalk debut, it has become
some cases long-overdue) nudges. much harder to nd anything truly
provoking to wear. Nipple exposure?

"
t the facile end of the Over and out and chilly.
spectrum, some of it may Never mind the kamikaze fashion
look suspiciously like blitzkrieg that made British street
8C<O8:?LE>

transient gesturing. But the style the eighth wonder of the world.
market has a knack of sorting that out. Today, fashion kudos lies in adapting
Whatever you feel about paying 490 a personalised uniform that works
M@:KFI@89<:B?8D

for a T-shirt, even if it is from Dior, its give or take in Tokyo or Turin.
We Should All Be Feminists version Whether you view this as a
sold out in a ash and spawned many symptom of creative stagnation or
knock-offs. The originals were so popular of maturity depends how close you
that stores were reduced to offering them are to the transactional imperatives
only to customers who had already bought of fashion. When I started
something more expensive from the main my career, I was much more
line collection a sort of upmarket version [obviously] experimental, says
of Amazons add-ons. Customers werent Roksanda Ilincic. These days, the
just buying them because they were a most important factor when Im
status symbol, but because the sentiment designing is still creating something
chimed strongly in a Trumpian era when new and innovative. But it has to
rights previously taken for granted be something which is appreciated
suddenly seem all too for function and practicality as
vulnerable. And lets not well as its desirability. Its denitely
forget, they were easy to wear. exciting when something Ive
:<C@E<

Clearly Maria Grazia Chiuri, designed ends up on editorial pages,

Diors rst female creative but creating something which so
director, like Angela Missoni many women take pleasure from
with her deluxe Pussy Power wearing is also incredibly satisfying.
beanies, has struck a nerve. -ILAN Ilincic has a rare vantage point in
Is fashion leading or &ASHION fashion as a designer whose palette,
7EEKAW
exploiting current preoccup- inspirations and silhouettes can seem
ations? Moot point. At the arty, if not avant-garde, but also
very least, its newfound pass so quickly into the mainstream
interest in the political helps that they repeatedly sell out and in
position it at the centre of many cases become classics. Then
>89I@<C8?<8IJK

important conversations. again, the truly avant-garde as

But where does that leave opposed to the merely shocking
the precious creative process? often turns out to be timeless. The
If the most radical image on dichotomy between real and radical
a catwalk these days is a fashion might be a false one. Ive
septuagenarian grandmother never understood the distinction
(Simone Rocha) rather than a dress that between fantasy and everyday fashion,
A8JFECCFP;$<M8EJ2D@K:?<CCJ8DJ

turns itself into a table (Hussein Chalayan, says Maria Grazia Chiuri. I love
2000), or trans models (Givenchy) as fantasy. But I want it to be the kind
opposed to anything theyre actually I can wear every day, not just leave
wearing, does that mean the avant-garde hanging in my wardrobe. Achieving
is in terminal retreat, reduced to being that comes down to great design. Q
K?<IFN

respectfully viewed in the intellectual ,ONDON Lisa Armstrong is fashion director of

safe space of New Yorks Metropolitan &ASHION7EEK The Telegraph
AW


 Dos CabezasnASELF PORTRAITOF*EAN -ICHEL"ASQUIATALONGSIDE!NDY7ARHOL



 AMERICAN

  
Jean-Michel Basquiats meteoric ascent from street artist to ne artist made
him the toast of Eighties Manhattan. As a new retrospective of his work opens,
the maverick geniuss friends, dealers and lovers offer an oral history
)NTERVIEWSBY(AYLEY-AITLAND

8C;@8Q announcing parties. At the

Working under the end of this particular night,
joint name of Samo, Diaz everybody rolled out on to
collaborated with Basquiat the street and a strange man
on his early grafti projects threatened me with a knife.
in the Seventies Jean-Michel was the person
Jean-Michel Basquiat and I who stepped in to help me.
became friends in the autumn I had seen his Samo grafti by
of 1976, when we were just that point everybody had
teenagers. Both of us had and I was pretty enticed by him.
transferred to City-as-School, The two of us quickly became
a school for clever mists in friends, then lovers. Shortly
Greenwich Village. Even then, afterwards, he ended up moving
he was a fragile person. His life in with me on the top oor of
at home with his family in a semi-abandoned building.
Brooklyn was difcult. He Right away, our apartment
would complain about his became a sort of creative
father being violent, and his
mother was in and out of institutions due
to mental illness. The two of us understood
each other almost right away. There was
K?<<JK8K<F=A<8E$D@:?<C98JHL@8K&C@:<EJ<;9P8IK<JK8I#E<NPFIB2><KKP
a part of our brains that just matched
up. Before it became legendary, Samo
developed as a private joke between the
two of us. The name itself came from the
phrase same old shit, but it was never
intended to mean that in the long run. It
was a malleable term that evolved with us.
I had been a grafti artist since I was 12
years old but the Samo grafti was
different. It was in the same vein as ancient
Roman grafti, a way of making statements
to our community. At night, the two of us
were all over the Lower Manhattan grid,
spray-painting our messages. I thought it
was cool to keep our identity hidden. At
rst, hardly anybody knew who we
were. Then the Village Voice published
articles about our work. Even back
then, Jean-Michel was all about
becoming famous and Samo became a
springboard for him to do that. Eventually,
"ASQUIATIN.EW9ORK
we started to drift apart, as you do with
childhood friends. By 1979, he was
hanging out more and more with what
I thought of as the beautiful people and
probably starting to play around with a
little bit of heroin. I last saw him a couple
of years before he died, when he arrived
at my house with a painting that read:
To Samo, from Samo. It was a sweet
gesture of reconciliation, of acknowledging
our connection.
8C<O@J8;C<I
Basquiats girlfriend Alexis Adler
witnessed his creative process at rst
hand when they lived together in 1978
I met Jean-Michel Basquiat at a sort of
travelling party in downtown Manhattan in
1978. The area was pretty desolate at that
point the only reason that anyone came
past First Avenue and into our
neighbourhood was for drugs but there
were always leaets and yers on the walls
laboratory. He would go out to
the clubs, get home in the middle of the
night, and start painting. The middle of
the house was his gallery space. There was
nothing in there except for his turntables
and art. As a friend of mine once said, he
completely had his way with the apartment.
It was constantly being transformed. There
was no money for canvases so he would
work on paper and any other surface that
was available, including the door of our
refrigerator. I would get out of bed in the
morning and my feet would land on wet
paint. I once found a gold lam coat in a
thrift store that I loved. I brought it home,
and the next day he had painted all over it.
Once, he even found a box of Silly Putty
outside our building and decided to use
it to create performance art. I have
photographs of him stretching it across his
face. Eventually, he sort of faded out of
the apartment although I would see
him occasionally at the clubs or picking
up drugs. He was already on his path,
and he had to follow it to the end. >



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In 1979, my friends and I organised the
Canal Zone Party to introduce grafti
artists to the ne-art scene that was just
beginning downtown at that point. As we
were setting up the party, this teenage boy
wandered up and asked if he could do his
tag. One of us gave him a sheet of plastic,
and he spray-painted a Samo tag. As soon
as we realised who he was, we lost it. Later
that night, he came over to me again and
asked to start a band together. He had no
musical experience but that was almost
the point. At that particular moment,
everybody downtown was in a band; the
New Wave was in full swing.
Our approach to music was different,
almost painterly. For a while, Jean-Michel
would play this machine that consisted of
a 15hp engine inside a shopping cart, which
would bang around the stage when plugged
in. He did that at the dealer Leo Castellis
birthday party, and it nearly gave him a
heart attack. Then I bought a little Wasp
synthesiser for him which made different
tonal noises, and he played that. It was
Jean-Michel who came up with the bands
name, Gray. When he was seven years old,
he had been hit by a car. It ruptured his
spleen, and his mother bought him a copy
of Grays Anatomy to explain to him what
had happened to his body. It became one of
his favourite sources of inspiration. There
are countless references to it in his work.
Together, we played CBGBs and all
the other major clubs. Often, the band
produced otherworldly sets for our gigs.
Once, I worked all day to build an iridescent
dome out of scaffolding for us to perform
inside at the Mudd Club. Jean-Michel
wandered in just before sound check, took
a look at what I had done, and ran out
again. Within ve minutes, he had returned
with a shipping crate, hauled it up on to
the stage, and climbed inside of it with his
synthesiser, ready to perform. He never
missed a beat.
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I had been friends with Jean-Michel for a

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Our relationship came under a lot of
couple of years when he rst signed to
Annina Noseis gallery in 1981, and his life
changed practically overnight. Annina
introduced Jean-Michel to the Italian
gallerist Emilio Mazzoli. Jean-Michel was a
little intimidated by Europe he came home



from his rst trip to meet Emilio after only a
couple of days and he asked me to join him
in Soho. Theres no way of preparing
lonely. His girlfriend, Suzanne Mallouk,
came as well. I will never forget the three of
us arriving in Rome, at a hotel at the top
of the Spanish Steps, where Emilio had
reserved us a suite. It was pure luxury
bottles of champagne on ice and views of the
Roman rooftops and a colour television that
stretched across an entire wall. Jean-Michel
absorbed it all like a sponge. The next day,
I rented a red Italian convertible, and the
three of us made our way north to Modena.
When we nally arrived, Emilio showed
us the place that Jean-Michel was going
to be working. It was the size of an
aircraft hangar. Half a dozen workmen
were assembling these vast canvases for
him to paint some of the largest pieces
he ever did while another half-dozen
assistants were waiting to help him. It took
my breath away, the amount of work that
he was expected to produce but he did
it in just a fortnight.
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The only difculty was that he was paid
about $100,000 in cash. There was a lot of
red tape about carrying that much money
across international borders. On our way
to the airport to y home to New York, the
three of us divided up the money between
us, with Jean-Michel hiding it in his
wrinkled Armani suit, and Suzanne in the
heels of her cowboy boots. Of course, the
police caught us and refused to believe
that the African-American man whose
luggage consisted of a few boxes tied with
heavy rope had made that amount from his
paintings instead of drugs. It took several
emergency calls to Emilio before the
misunderstanding was cleared up.
the CIA or the FBI would have him
murdered. I expect that a lot of it had to do
with the drugs.
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I lived with Jean-Michel Basquiat during
that surreal year where he went from being
homeless to becoming a millionaire at
the age of 21. The gallerist Annina Nosei
arranged for us to move from a tenement
building at Sixth Avenue and East 81st
Street to a glamorous loft on Crosby Street
yourself for that kind of a shift in
circumstances. At that point, Jean-Michel
had yet to even open a bank account.
I would be tidying the apartment, and
there would be thousands and thousands
of dollars between the sofa cushions and
the pages of novels. People wandered in
and out of our loft at all hours. There
was always a party going on, with Beluga
caviar, Cristal, 10oz of cocaine on a mirror.
The refrigerator was stuffed with Italian
pastries from Dean & DeLuca. Usually,
Jean-Michel would take drugs with people
in the living room and work through the
night. He would wake me up to ask
me what I thought of a painting or to have
me name whatever he was working on.
For Jean-Michel, money was a weapon
a tool that he could use to expose
peoples hypocrisies and racism. We would
take limousines everywhere as a sort of
parody of the hip-hop stars like Run-
DMC who did the same. Occasionally,
he would drop $100 bills out of the
window for the homeless people outside.
Once, we were at dinner at a fancy Italian
restaurant called Barbetta, and a group of
Wall Street bankers started laughing and
pointing at us, asking, How can you
afford to be here? Are you a pimp? Is that
your whore? Jean-Michel kept quiet,
called over the waiter, and paid for their
dinner. It must have cost thousands of
dollars. When one of them sheepishly
came over to thank him afterwards, he
just slapped another $500 in his hand
and said: Sorry, I forgot the tip.
It was as that year progressed that the
trouble started and the parasites came.
Collectors would come by and say, I need
a painting to go with my couch.
Jean-Michel would immediately throw
them out of the loft. He went through
a period of writing Not for sale on
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whatever he created because the paintings
were selling so fast. Eventually, he
became paranoid and started isolating
F==@E<8IKJ&;FL>C8JDG8IB<I2<;F9<IKF>C@F2A<EE@=<IM8E?FCJK<@E
himself covering the windows of our
apartment with black construction paper
so that nobody could see in. He worried
that, as a famous African-American man,
external pressures. Models were throwing
themselves at him. He started hanging out
with Andy Warhol. Even though the two
of us remained friends for the rest of his
life, at some point I had to get out of that
loft. It had become too unhealthy. >
Left: Plastic Sax (1984), from the collection of Agns B. Above:
Basquiat in the lm Downtown 81, in which he co-starred with Debbie
Harry. Below: pages from the artists notebook. Bottom left: A Panel
of Experts (1982) refers to Basquiats muse Suzanne Mallouk, whom
he called Venus. Bottom: Anti-Baseball Card Product (1979)



 ?<I9C<EFI<J:?FII
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We rst read about Jean-Michel Basquiat in
Ren Ricards now-legendary feature in Art
Forum magazine in December 1981, in
which he was nicknamed the Radiant Child.
The two of us drove into Manhattan to meet
his gallerist, Annina Nosei, and bought the
painting Acque Pericolose (Poison Oasis) that
same day. Jean-Michel told us that he was
most proud of the coiled snake at the bottom
of the work. In hindsight, there was a lot of
symbolic meaning behind that.
The three of us quickly became good
friends. We would visit him in his studio, and
he would be painting in his favourite Armani
suits, all of which were splattered with
paint. Quite simply, he was a genius. His
mind was like a sponge. He assimilated
everything and trans-
formed it into art. Jean-
Michel was terribly innocent
commercially. He was a
21-year-old trying to grapple
with sophisticated art
dealers. Eventually he learnt
the hard way about the
reality of the Manhattan art
market and it made him
incredibly sensitive.
Once, we brought him to
a dinner party organised by
a prominent gallerist. It
took about ve minutes for
him to say, Lets get the
hell out of here. He
dismissed everyone there
as real-estate collectors,
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Before Jean-Michel Basquiat became an
artistic supernova, he would hang around at
the same clubs as me mostly CBGBs and
Maxs Kansas City. Jean-Michel stood out
as one of the few African-American kids on
that downtown scene. I remember seeing
him perform once under the name Samo at
a space on Broome Street called A. He was
playing this contraption of junk electronics
that made a fantastic sound.
There was a particular exhibition at the
Fun Gallery in 1982 that turned him into a
real star. The place was rammed. Crowds
spilled out on to the pavement. It was wild
the denition of a glittering Manhattan
opening. Suddenly, Jean-Michels name was
constantly in the paper. He had arrived.
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I rst encountered Jean-Michel Basquiats
work at Annina Noseis gallery in 1981. I was
thunderstruck. His canvases had a raw power
to them. I bought three works including
one of his masterpieces, The Skull that
same day. Shortly afterwards, I suggested to
Basquiat that he do a one-man show at my
gallery in Los Angeles, and the two of us
became good friends. He came out to the
West Coast and lived in my house on Venice
Beach with Madonna, his girlfriend at the
time. I used to watch him paint in his studio.
There was an elegance to the way that he
worked, a natural condence to his technique,
even though he had no formal training.
Its been more than three decades since
I rst clapped eyes on a Basquiat painting
thats a long time in the
world of contemporary
art but his canvases feel
more relevant, more
essential now than ever.
Thats the true root of
his incredible commercial
success. His works have a
bit of Twombly and a bit
of Pollock in them but
theres really nobody who
has painted like Basquiat
before or since.
The last time I saw him
before he died, the heroin
addiction was pulling
him under, and his body
was deteriorating. I was
completely shocked by
people who bought art for
status. On another occasion, a dealer visited
him at his studio and brought him a sack
of nuts as if he were a monkey. He tossed

Hawaii for a few months and dry out, but he
her out of the door before going up to the
second-oor window and dumping the

XIFSF
though, he never lost his creative vision.
nuts out on to her head.
Even after Jean-Michel started to be
better known, it was never easy for him as
an African-American artist. He was a genius
who broke with the traditions of the past,
and curators struggled to t him into their
narrative of art history. About six months
before he died, he told us that he wanted to
see his paintings in a major New York gallery.

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We said we would donate some of our works
to the Museum of Modern Art and the

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Whitney. Both turned us down. No interest.
After Jean-Michel died, of course, both
rushed to purchase his work. Race had a lot
to do with it. We would tell collectors that he
was an incredibly smart man. Their response
was always, Do you mean street-smart?
And we would say, No, we mean smart.


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In 1984 I ew out to visit Jean-Michel when
he was staying in Maui. I met him at the
airport in Kahului and from there we were
FL wn into Hana by helicopter and landed
right in the yard of the beautiful plantation-
style ranch house where he was staying. The
home was in walking distance of the seven
sacred pools of Oheo. The environment
was so lush and wild. We would take long
meandering walks, ride horses and cook
every night. Jean-Michel was working on
watercolour paintings on paper at the time.
I helped him with some of them, lling in
his drawings with colours. When he nished
one, we would put it in the laundry dryer.
They were very oral, inuenced by the light
and natural environment.
his appearance. A lot of
different people had tried to help him,
including me. Sometimes he would go to
would always relapse. Right to the end,
I had a dinner at my house recently and
Leonardo DiCaprio, who collects Basquiat,
was there. During the meal, he turned to me
and said, For my generation, Basquiat is
Picasso. That sums it up.
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When Jean-Michel joined my gallery in
1982, he was red hot on the arts scene. At
rst I was wary about signing him, although
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I had met him long before. The artists that
I loved from the Seventies had slow careers
and mostly kept out of the public eye but
the market changed dramatically at the turn
of the decade. Theres a quote by Studio 54
founder Steve Rubell: Artists are the rock
stars of the Eighties. There was denitely a
scepticism around the new breed of celebrity
artists and Jean-Michel was at the forefront
of that movement. He made a lot of
subsequent artists careers possible by forging
ahead regardless of anybodys opinion.
His rst exhibition at my gallery in 1984
was sold out and closed with a party at
Mr Chow. Andy Warhol arrived with
Manolo Blahnik. Then, Jean-Michel
appeared on the cover of the New York
Times Magazine. He dressed formally in a
suit and tie but refused to wear shoes for
the portrait. That was typical of the kind of
contradictions that he played with. There
was a lot of romance around him as a gure
that appealed to major collectors and the
type of people who wore suits all day.
Most importantly, he had a good heart.
When Julian Schnabel left my gallery in
1984, I was distraught and Jean-Michel
found me crying in my ofce. He walked
in, put his arms around me, and said: Dont
worry, Mary. Its going to be all right.
When history is written, Im going to be a
much greater artist than Julian Schnabel.
=I8E:<J:8
MFE?89J9LI>
The inuential art collector recognised
Basquiats talent at rst sight
While I was studying at Central Saint Martins
in the early Eighties, I worked as a coffee
girl at Robert Frasers Cork Street gallery.
After making a trip to New York to visit
Andy Warhol, Robert came back determined
to put on a show that featured Keith Haring,
Schnabel and Basquiat. Just before the
opening, he pressed a Polaroid into my hands
of a magnicent blue painting of a skull and
vertebrae with the words Study of a Back
scribbled on it. Its only $15,000, he told
me. He had taken the picture during a recent
trip to LA where hed seen a Basquiat show
at Larry Gagosians Venice Beach gallery.
After his trip to the States, Robert
urgently needed some funds to keep his
gallery open. I really loved Study of a Back,
and I bought it. I cant remember exactly
how I paid for it, but I must have begged,
borrowed and stolen to nd $15,000 back
then. When the painting arrived in London
at my home on Seymour Walk, it was too
big to t through the door. I asked a friend
across the road if I could leave it in his
garage until I found a solution. It was there
for months, covered in a thin sheet of
plastic just inches away from his sports car.
Then Jean-Michel came to stay at my
house while he was preparing for his ICA
exhibition in 1984. I was frustrated that his
painting was still in the garage, and I
showed it to him. He was shocked. Its not
nished! he exclaimed. It seemed that
Larry had not given him time to complete
the work. I was delighted that he was going
to nish the painting but after I delivered
it to the studio that the ICA had given
him to prepare for the exhibition, I never
saw it again. He completely recycled the
canvas, transforming it into another
painting. I always suspected that it had
been turned into his portrait of Robert
Fraser. He just added esh on to the bones
along with Xerox copies of Roberts diary
and phone book where I also found my
number. Years later, Jean-Michel gave me a
wonderful drawing in compensation, after
I had searched for the piece to no avail.
=@FE8>FC=8I
In 1984, Vogues future editor-at-large
entertained Basquiat at her home
One day in the mid-Eighties, my friend Mel
called me her boyfriend Grard Faggionato
worked for Robert Fraser Gallery and had a
young artist in from New York called Jean-
Michel Basquiat whom he was looking after.
"MM
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Can we bring him over for dinner? she
asked. Why not? I said. I knew nothing
about the art world; I had studied art history
at school and barely got past Giotto.
Grard and Mel arrived with a beautiful
man with dreadlocks. I said hello in
French. Im not French, Basquiat
murmured coolly. Grard was laughing, but
I wanted to die. Hes from Brooklyn,
he said. Basquiat was looking around our
little house in Shepherds Bush like he
had landed from outer space. I remember
being embarrassed.
Halfway through dinner he rolled a joint.
The grass was the strongest thing I had ever
smoked. I was barely able to speak. Can
I use your phone? he suddenly asked. He
called Mr Chow and made a reservation.
The next thing I knew we were all piling into
Grards VW Beetle. I was out of my mind
and it seemed mad that one moment we
were mid-meatball and the next we were in
a Chinese restaurant ordering Cristal.
Werent we in the middle of dinner? I
stammered. Oh, it was ne for an
appetiser, Basquiat drawled.
I went down the famous spiral staircase
and phoned my friend Gaby. I am really
stoned, I said. But is this guy a twat? Yes,
he is, she replied. I never went back to the
table. I left the restaurant and went home
and nished my meatballs.
8>E<J9

The fashion designer and collector met
Basquiat near the end of his life
The rst and last time I met Basquiat was
just a few months before he died. He had an
exhibition at the Yvon Lambert Gallery in
Paris, and he was thrilled to be there. At that
point, everybody in New York was saying
that he was nished, that his moment had
passed. At the opening, his hair was parted
into three dreadlocks, and he was wearing a
brown suit just like in Warhols famous
Polaroids. For me, it was as if he was the only
person in the gallery. After he left, I decided
to go as well but he was waiting for me at
a caf across the road. He called my name,
and I sat there with him for hours speaking
about life and art. I was supposed to go for
a meal with my friend the designer Jean-
Charles de Castelbajac, and I forgot all
about it. I was completely lost in the
moment. Everybody said that he fell in love
with me that night. Over the next few days,
he would call me at three in the morning to
meet him. I never went. Then, a few months
later, I heard that he had died. I was
devastated. For me, he will always be one of
the greatest artists of the 20th century.
<C<8EFIE8@IE<

The curator has spent years putting
together the Barbicans new Basquiat
exhibition the rst large-scale
show of its kind in Britain
In a pre-digital world, Jean-Michel
Basquiat deliberately bombarded himself
with information, working with and
transforming a never-ending variety of
source material. At his studios, the
television was constantly blaring; novels
lay open everywhere; the record player
was spinning at all hours. His genius lay
in distilling the culture that he witnessed
into a visual language full of encrypted
references each charged with endless
layers of meaning. In his canvases, you nd
nods to his Haitian and Puerto Rican
heritage; to the pioneers of bebop; comic-
book heroes; the masters of 20th-century
art; ancient Egyptian mythology; notable
African-American gures The list goes
on and on. His works, then, are a test.
Are you looking hard enough? Have you
understood? Or are you taking this at face
value and missing the point entirely? Q
Basquiat: Boom for Real is at the Barbican,
EC2, from September 21


%PNFOJDP
%PMDF


4UFGBOP
(BCCBOB
Twenty-ve years have passed since
the rst cover dedicated to us by
British Vogue: it was the August 1992
issue, with a radiant Geena Davis in all
her extraordinary beauty, smiling and .BSJB
(SB[JB
$IJVSJ
raising her arms to the sky. She was This is me on my wedding day, which took
gorgeous in our black lace minidress place on December 21, 1992 in the very special
with her lingerie famously in view San Pietro Church in Portovenere in Liguria.
which generated a lot of discussion My husband and I loved the church, which
over the years. It was very Dolce & is located on top of a rock; we liked the idea
Gabbana, just as we like it. That cover of coming together in such a strange place.
was our debut on one of the most I remember the minister being very surprised
respected fashion publications in that we didnt get married in Rome, where
the world, just a few months after there are so many beautiful churches.
Alexandra Shulman was named the
new editor, and for us it was truly
a thrill. Looking back at that photo,
were still surprised at how Alexandra,
freshly arrived at Vogue, recognised our
style and immediately understood
our most iconic look, the fullest
expression of our creativity at the time.
Most of all, were delighted that she
chose to dedicate the cover to us.
Weve always admired Alexandras

$MB
courage, honesty and sincerity but,
above all, the fact that shes a real
journalist. Weve collaborated with
her twice on the Vogue Festival, which
allowed us to meet hundreds of young
fashion fans, and we fondly recall the
countless stimulating conversations
weve had together and not
only about fashion.

.BSD
+BDPCT
In 1992 I was in New York City working at Perry
Ellis. It was the year I came to realise that I was
happier trusting my instincts above all else. The
G<>>PJ@IFK8

resulting grunge collection of spring/summer 93

was my expression of that very sentiment.


 $ISJTUPQIFS
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 3PLTBOEB
*MJODJD
I was 18 and back home in Belgrade
in 1992. This picture was taken with
my girlfriends I remember trying
to compose this outt, not for a party
but for a school exam I was taking.
The clothes here are all my mums
vintage pieces; I loved the hat,
which is a Pierre Cardin from the
Sixties and still one of my favourites
of hers. I felt that I needed a pop
of colour hence the gloves and
the scarf a theme which still runs
with me today. I had no plans to
come to London to study fashion
at this stage, that was all to come.

+POBUIBO
"OEFSTPO

Looking at this picture, it brings back
memories of playing with my brother
and sister out on the farm.

1JFSQBPMP


1JDDJPMJ
The year 1992 was a hint to my
future. I was living in Florence,
working in Fendis accessories
department. I experimented with
designs, acquired part of my
current taste, and began to
construct an idea of what I wanted
to transmit in my work. Simona
and I were planning our wedding
@IM@E>G<EE2GI8;82M<IJ8:<

and, yes, that was the dening

moment in which my future began.
I can say that it was a starting
From left*ONATHAN
4HOMASAND point, and that a lot of what I am
Chlo Anderson now was born there, at that time.


 $MBSF
8BJHIU
,FMMFS
In 1992 I had just arrived in New York. This is a photo
I took of my rst sight of the Big Apple, with the view
of the Twin Towers. It was an incredible moment for me
as I was starting at Calvin Klein, my rst job in fashion,
and it was also the moment I fell in love with the city.

.JVDDJB

1SBEB
When I look back,
1992 doesnt seem
so far away. Pradas
ready-to-wear was
starting to establish
itself, and Miu Miu
was just born
In this photo,
my obsessions are
already all there:
a hat, a stole and a pair
of bloomers on a girl
who would become
Frances First Lady.

%POBUFMMB

7FSTBDF
I will never forget this
night in 1992. My brother
Gianni and I attended an
Amfar gala in New York
with our friend Richard
Avedon. The campaigns
4BSBI
#VSUPO we created together for
Versace have become some
Twenty-ve years ago I was just leaving school in
Manchester. On Founders Day each pupil chose a book; of the most iconic images in
I chose a beautiful Vogue book. I loved its diversity from fashion. When I look at this
Irving Penns poignant portraits and owers to Richard photograph, I think of family,
Avedons incredible use of movement. The pages of this book charity, creativity and love.
covered my walls and were a constant source of inspiration.


 3BMQI
-BVSFO
Twenty-ve years ago
I received the Lifetime
Achievement award from the
Council of Fashion Designers
of America. There I was on
stage at the Lincoln Center,
standing next to the movie-star
heroine of my childhood,
the princess from Roman
Holiday, Audrey Hepburn.
She presented me with the
award and I remember hugging
her and looking out into the
audience and calling out to one
of my oldest childhood friends:
Steve, you remember when
we went to the movies in the
Bronx 30 years ago? Remember
the princess? I got her! There
I was, that kid from the Bronx,
standing next to the legendary
icon who had inspired me all
those years. It was something
I could never have dreamed up.
It was one of the most thrilling
moments of my life.
5PN
'PSE
I remember clearly
when Alexandra
became editor of
British Vogue as
I became the design
director of Gucci that
same year. We met in
Milan and then sat
next to each other on
4JNPOF
3PDIB a ight to Paris. She
I was ve years old in 1992, living at home in Dublin with my parents. I remember was relaxed and
so well the Chinese silk pyjamas Im wearing in this photo they were my favourites. friendly, and brought
I loved this matching suit. My mum and dad used to bring them back for me from a breath of fresh air
their travels to Hong Kong. Im just as close to my parents now as I was then. to the magazine.

E@><CJ?8=I8E2J<8E:LEE@E>?8D2I8CG?C8LI<E

3BG
4JNPOT
Listening: Sonic Youths Dirty.
Looking: Cindy Shermans
show at Metro Pictures.


 (JPSHJP
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It was a very signicant year for me.
It was the year that I presented my .PSBMJPHMV
Le Collezioni line at the Solomon R Dp]`ijkki`gkfGXi`j
Guggenheim Museum in New York,
during an exhibition of works by Dan
Flavin, and in June I was invited to
represent Italian fashion in the White
Room of Palazzo Pitti in Florence, at
an event curated by Italian architect
Gae Aulenti. And, again in that year,
I vividly remember the fragrance ad
David Lynch directed for me: Who
is Gi? To celebrate the launch, I
organised a party at my estate in Broni
where Eric Clapton, Lauren Bacall,
Martin Scorsese and Christopher Lambert were among my
guests. For me, 1992 was also the year of black and white,
which I used extensively in my autumn/winter collection,
interpreting this duality in contrasting details and masculine
codes. In the eveningwear collection, I especially love the
straight tunic with the bodice resembling a gigantic cuff
with links classic yet vaguely surrealistic which was
photographed by Peter Lindbergh in the collections
advertising campaign. When I look at it, it seems I could
have designed it yesterday. And, actually, time passes so
quickly that even 1992 feels like it was only yesterday.

#FMMB
'SFVE
This was taken soon after I had started my
own label. The Sunday Times had sent round
a photographer called Nigel Shafran to take my
picture. Apprehensively, I opened the door and
there was a very young, incredibly skinny boy
who looked like someones little brother of about
12, holding a camera. I liked him immediately.
It was a hot, sunny day and I had spilled my tea
on the oor and Nigel took this picture while
I was cleaning it up. I like this picture because it
shows the camaraderie and silliness that exists
in the fashion business, not just the gloss.


 70(6&
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FJ:8I;<C8I<EK8
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trong women. If youve heard :I8PFE@EGFGLC8I #)'
the reference once backstage at LI98E;<:8P
a fashion show, youve heard it A<8E$D@:?<C98JHL@8K
<P<G<E:@C@EM@M@;#(-%,'
a thousand times. And theres no
wonder its the perennial beauty goal:

M@M@<EE<N<JKNFF;
who doesnt want to look condent,
assertive, in control? But this season,
make-up artists supercharged the
notion of strength by reimagining
the beauty secrets of modern-day
superheroines. Straight out of Marvel
comics, its a jet-packed, turbo-
charged, sucker punch of a make-up
moment, with eyeshadow painted
across the face like a mask, features
exaggerated with drawn-on stripes and
circles and huge, bug-like manga girl
eyes. All this in the kind of saturated
colour that looks as if its jumped ORANGE AND FUCHSIA WAS A
out of a graphic novel. Its about one COMBINATION WE SAW OFTEN THIS SEASON.
bold statement: one colour, one idea, TRY IT ON EYES, OSCAR DE LA RENTA STYLE,
says make-up artist Val Garland. The OR PAINT NAILS ORANGE WITH BRIGHT PINK TIPS
VAL GARLANDS I WANT CANDY LOOK
idea is really about using primary AT VIVIENNE WESTWOOD. VIBRANT
and secondary colours as an opaque, PICKNMIX SHADES WERE APPLIED
velvety stamp on the face. E8IJ MASK-LIKE AROUND THE EYES
Its no surprise that many of the <P<J?8;FN@E
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make-up artists tapping this seam were
women. At Prabal Gurung, Diane
Kendal explained her choice of
geranium-orange eyes by saying it was
inspired by the climate of what is B8KMFE;
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happening right now empowered and G8C<KK<@E
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strong women who do it all on their --
own; while her drawn-on lids and
brows at Tome was about revolution,
strong female artists: the Guerrilla :@8K<CFE;FE
Girls, Frida Kahlo. Isamaya Ffrench C8J?C@>?KJ@E
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was more literal at Ryan Lo, explaining
<D@C@FGL::@

her palette of electried pinks and

exaggerated features as a manga doll
EMILIO PUCCIS SHOW WAS
on acid; while at Vivienne Westwood,
ALL ABOUT OVERLOADED,
Val Garland called the paintbox-eye
COLOUR-SATURATED LASHES
look she created I Want Candy and
connected her amped-up palette to
strength: The modern woman uses BOLD EYES IN MISMATCHED
make-up to show shes in charge, she RED AND BLACK AT YOHJI YAMAMOTO D8:
C@GJK@:B
said. Shes strong, loud and proud. ADD BLACK LIPS FOR EXTRA EDGE @EIFP8C
Whats most refreshing this season ?FLI#
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is the idea of bright colour being
punchy rather than playful. Colour
has had a connotation of being playful
or painterly for a long time, says Macs
Lyne Desnoyers. It feels modern to
A8D<J:F:?I8E<2A8JFECCFP;$<M8EJ2G8LC9FN;<E2G@O<C8K<%9@Q

explore it now as a very elegant detail.

Flashes of cartoon-like colour against
bare skin are also autumns easiest
update, even for the colour-averse:
GRAPHIC SHAPES RULED
bright eyeliner in the thinnest line
AT MATTY BOVANS
possible, or black mascara tipped with
J@JC<P FASHION EAST SHOW
a super-bright version (see page 357
PF?A@P8D8DFKF

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for the best). Nails always the easiest 9CLJ?KN@JK
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place to add a jolt of colour appear in *0 CFI<8C
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looking brights from candy pink to <P<J?8;FN@E
Fanta orange. Kapow! Q I@KL8C#(.


 VOGUE PROMOTION

THE POWER
ICON
Hairstyles have changed signicantly over the last quarter of a
century, and GHD has been at the forefront of progress in
at-home styling. The Platinum styler part of GHDs next
generation of powerful, intelligent tools offers a snapshot into
the brands 16 years of commitment to technology and
development. Heres why
Photograph by Beate Sonnenberg

T
he Nineties saw
something of a hairstyle
revolution. While the
Eighties had been all
about tight perms, hot
rollers and crimpers, the
Nineties saw desirable hairstyles explode
from the catwalk and the red carpet, with
women wanting to style their newly
acquired celebrity cuts at home. As many
struggled with less than suitable hair
types chopped into high-maintenance dos,
the need for professional heat-styling
tools was evident. Straightening tools
dabbled with steam technology, leaving
most with frizz rather than smooth hair
but with the launch of GHD in 2001,
the landscape of heat styling was changed
forever. Not only did these revolutionary
irons transform unruly hair, they protected
and limited permanent damage: a
new concept in heat styling. As their
popularity grew, so did the possibilities of
*VERSUS A STYLER WORKING AT 230C. **VERSUS UNTREATED HAIR
of research. GHDs experienced laboratory
team developed the revolutionary patented
tri-zone technology found in the Platinum
styler, which cares for hair as you style;
using six sensors, three positioned on each
side, heat is evenly distributed through the
Platinum stylers two plates. An optimum
output of 185C is maintained and
regulated through heater zones and sensors
ensuring hair isnt put at risk of damage,
and styling is instant and consistent from
GHDs laboratory team
developed the Platinum
stylers revolutionary
tri-zone technology, which
cares for hair as you style.
Heat is evenly distributed
ensuring hair isnt put at
risk of damage, and styling is
consistent from root to tip
alignment, enabling more control for
creating the style you want whether its
curls, waves or a smooth style. Above all,
the Platinum styler is leading the way
when it comes to ensuring high-quality,
long-lasting results, the result of years of
laboratory research. Standard design
elements such as universal voltage and the
gloss nished plates that smooth and add
shine make styling on the go effortless,
anywhere in the world.
Science has long been at the forefront of
product development, pushing technical
boundaries. GHDs kinder-to-hair
approach to heat styling is also evident in
the hi-tech specications of the GHD
Aura. Much like the Platinum styler, the
design of the Aura hairdryer is smart and
unique. The precise air delivery of
Laminair technology gives you spot-on
styling control, making a smooth, bouncy
blowdry effortless. As its name suggests,
the intelligent Cool-Wall function creates

creating various styles with the original
GHD irons.
Gone are the days of sacricing your
hair health for the sake of your style. The
progress made by GHD in development
over the last 16 years has led to some of the
most advanced styling tools around.
Focusing on the importance of caring for
hair while also delivering the unbeatable
styling performance synonymous with
GHD, the design of the Platinum styler
and Aura hairdryer are the result of years
root to tip. With the built-in temperature
management technology of the Platinum
styler, there is no style compromise and
hair stays healthier. In fact, the tri-zone
technology is so effective at caring for your
hair that not only does it protect colour,
results have shown that hair breakage is
r quieter, and yet the Aura performs like a
And it doesnt stop there. The design
function of the Platinum stylers
wishbone hinge allows for perfect plate
a ring of cold air like an aura around the
heat, keeping the outer casing and nozzle
cool to the touch. Practical in so many
ways, this allows you to style closer to the
root to create volume and lift without the
risk of hot spots. The traditional heavy
motor has been made smaller, lighter and
professional hairdryer. You could say: its
not just hot air. Q
Available in the nest salons, premium
retail and Ghdhair.com

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a decade after the blockbuster
backlash began and perfume fanatics
switched to niche, undiscovered
fragrance houses, the tide is turning once
again. Now is a moment when interesting
things are happening at the top of fashion
houses, and it seems that what change means
for the runway, it also means for fragrance. At
Gucci comes the rst perfume to benet from
Alessandro Micheles particular version of
magic dust: as its name suggests, Gucci Bloom
is a lovely, bright, blowsy oral, tuberose
mainly, with a beautiful Indian ower the
Rangoon Creeper. With its toile de Jouy box
9LI9<IIP
he says. If one thing summed up Calvin
Klein for us visually, it was Mario Sorrentis
Obsession campaign with Kate Moss. It
lived in our heads for so many years and
became a touchstone of sensuality when we
arrived at Calvin Klein. In 2017, Obsession
becomes the hashtag-friendly Obsessed,
the scent closely echoing the gently musky
original. And the advertising image? An
outtake from the original Kate Moss
Obsession shoot which, as Sorrenti himself
7HATCHANGEMEANS

70(6&
BEAUTY
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Since Tom Fords Private Blends launched
in 2007, most fashion houses have attempted
these premium fragrance lines with mixed
results. But each of the seven Burberry
Bespoke scents is exceptional. For a start,
they are all inspired by British landscapes and
created by Francis Kurkdjian, one of the small
band of perfumers whose rare talent allows
him to approach global mega-brands with
the sensibility of a niche perfumer (his own
label, based in Paris, was recently acquired by
Louis Vuitton). Standouts include Hawthorn
Bloom, a classic English country landscape;
Garden Roses inspired by the Wars of the
and powder-pink lacquered bottle, it is both
vintage-obsessed and yet not fustily so: the
fragrance equivalent of his clashing prints
and geeky glasses. Of all this years crop, this
one feels the smash hit; the one youll smell
everywhere, in the same way Chlo became
G8LC9FN;<E2A8JFECCFP;$<M8EJ2D@K:?<CCJ8DJ
FORTHERUNWAYITALSO
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says, was an expression of his own obsession
with Kate at the time. Kate and I were so
in love I would take pictures of her all
Roses, with white and red roses battling it
out for supremacy; and Wild Thistle, inspired
by a vibrant and shimmering Scottish heath.
Lovelier still, each scent is available in a
choice of strengths (the percentages are
displayed on the bottle). Its fascinating to see

the ubiquitous scent a decade ago.
Calvin Klein has also had a fresh injection
of creativity via the appointment of Raf
Simons. Its new perfume seems to have his
thoughtful, reverential yet futuristic stamp
all over it. When he arrived at the house,
Simons felt that the launch of Obsession in
1985 was a signicant moment. I suppose
you could say we were obsessed by Obsession,
the time, and sometimes it drove her
crazy and other times she loved to be part of
it. We had really good times. We were young,
and I was never again so obsessed or so in
love with photographing one person.
Burberry, meanwhile, is the latest fashion
house to create a new, more premium line of
scents, from 225 and currently only available
in its agship boutiques and at Harrods.
how the character changes according to the
concentration, and it also engenders the kind
of conversation youd usually have in a small
perfume boutique. The bespoke element
comes from being able to have your bottle
monogrammed and your own choice of
leather tie around the neck but, to be honest,
it feels almost unnecessary. Truly, these
perfumes are special enough already. Q


70(6&
BEAUTY
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a nthony D Gonzalez is a beleaguered
man. As director of global research
and development for Avon the
company that spends more on testing than any
other beauty name in the world hes dealing
with the fact that, in 2017, skincare products
have pretty much become as good as theyll
get. There comes a point in every industry,
from mobile phones to trainers, where every
basic need is met. What we promise, we can
deliver. Where do you go from there? he asks.
In fact, he and his team think they have
an answer. Pondering the problem at Avon
HQ in New York State, they realised their
frustration was not in easing wrinkles, which
they can do pretty well, but that more often
than not the results youll see from a face
cream wrinkle reduction, age-spot fading,
improvement in skin tone and so on
plateau after three months, at which point
customers desert you in droves.

The result, two years later, is Reversalist, a
double-ended night-treatment cream you ip
over once a week to avoid skin plateau. One
side contains hyaluronic acid for moisturising
and replenishing; the other super retinol.
Impressively, Avon put the product through
clinical testing on 120 women (aged between
35 and 65) for a year something unheard of
in the industry because of the prohibitive cost.
Thats when we thought, this is going to be
big, says Gonzalez. At the end of the study,
women looked younger than before we started,
even though they were now a year older. Its
the anti-ageing cream that keeps on giving.
Avon isnt the only company attempting to
beat skin boredom. Lancme has just launched
Visionnaire Crescendo, 60, a progressive
night peel. You use phase one, which contains
FI e per cent AHA to eliminate dead skin cells
and boost cell renewal, for 14 nights, like an
endurance phase. Then you follow with
phase two for the following 14 nights
a mix of 0.5 per cent salicylic acid and 9.5 per
cent glycolic acid to reduce the appearance
of ne lines and wrinkles. Its designed to be
used up to six times a year, so is best deployed
as a special treatment before a big event or at
the change of seasons.
Unlike Avon and Lancmes treatments,
you use LOral Pariss new moisturiser, a
reworking of its Revitalift Laser Renew cream,
in the day. You dont alternate products, but it
did undergo six months of testing to debunk
the idea that anti-ageing creams stop working
after that mythical three months: in fact, two-
thirds of women tested agreed that each month
their skin was better than the previous month.
Surely a plateau will come at some point,
or well all be walking around looking like
teenagers. But for now, interval training feels
like the biggest anti-ageing breakthrough in a
while. And surely thats worth sticking with. Q
The average life cycle of an anti-ageing
cream goes something like this: week one,
delighted with the results. Skin feels great,
begins to look clearer, expectations are high.
By week four, youre denitely noticing an 8MFE8E<NI<M<IJ8C@JK
E@>?KKI<8KD<EK:I<8D#)(
improvement. Fine lines around the eyes are
softened and, is it me, or are those dark
shadows looking just that bit less apparent?
Week eight, skin still looks good. Youre
even recommending the cream to friends. Just
one month later, though, and its a different
story. You want even fewer lines. Even more C8E:FD<M@J@FEE8@I<:I<J:<E;F
GIF>I<JJ@M<E@>?KG<<C#-'
radiance. And the creams no longer delivering.
Maybe its time to try something else?
Avons lightbulb moment came when
8C8J;8@IDZC<CC8E2G8LC9FN;<E
someone mentioned other ways people try to
resist a plateau: rotational diets such as the
5:2 to keep the bodys metabolism on its toes; CFI<8C
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 70(6&
BEAUTY
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#FBVUZ









#*5&4
WHAT TO TRY AND WHAT TO BUY THIS
MONTH. BY LAUREN MURDOCH-SMITH
C8;P>I<P
Its so hard to nd a good grey eyeshadow,
mused Victoria Beckham, talking us
through her autumn/winter make-up
collection. Unless theyre at and matt
they can look a bit nana. Hers is perfect:
the cosmetic equivalent of Farrow & Balls
M@:KFI@89<:B?8D
>I@J<P<J?8;FN# Cornforth White. NM
8JG8IKF=K?<<P<
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0UTTINGONAIRS
Contemporary skincare often contains
free-radical-ghting ingredients, and now
you can try the facial to match. The De
Mamiel Urban Warrior Pollution Proof
Facial, available at the spa of the Citys
latest stamping ground, The Ned, focuses
on protecting the face from environmental
damage. It also treats inammation
caused by pollution, and energises skin.
170 for 90 minutes, at Thened.com

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i m a hair sniffer. Just my own, though.
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my long hair and instinctively smell it,
for comfort and condence. So, for me, a
shampoos smell is just as important as its
cleaning and conditioning abilities. And it
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9CL<C@>?K spending almost as much on scents as on
8:E<
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create distinctive notes that are released
throughout the day.
For a long time, shampoos all smelt pretty
much the same: clean with a hint of
fruitiness, but articial as opposed to natural.
Marketing people traditionally told us that
women rejected so-called sophisticated
scents in shampoos because they didnt
signify clean, but now theyve realised that
women want their haircare to smell as good
as their skin and body products. Jen Atkins
SPOT ON Ouai hair range is inspired by her favourite
Foreos perfume brands, such as Byredo, Frdric
latest sonic Malle and Le Labo. Ouai 20 Shampoo
gadget, the Espada, is Clean and Conditioner Volume smell as if
an at-home targeted acne youve been in a luxurious salon. Krastase,
treatment. It combines blue being French and premium, has a subtle
light and sonic pulsations scent much more akin to skincare. Percy
A8D<J:F:?I8E<2G8LC9FN;<E2G@O<C8K<%9@Q
to blast bacteria and & Reeds products also have exceptional
stimulate blood to scents because co-founder Adam Reed is a
help healing. long-time fragrance obsessive who wanted
what he made to smell like the hair
equivalent of Byredo with the heritage of
Guerlain (try the Cleanse & Nourish);
while Oribes Signature Shampoo smells
expensive without being overpowering. Q
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 SEPTEMBER 2017 4.40

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 VOGUEbeauty

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f one more person talks about the benets

i of mindfulness, I will throw fermented

cabbage at them. Just kidding. But I do
have a lot of fermented cabbage happily
rotting away in my kitchen, thanks to yet
another transient wellness obsession that
failed to retain my attention. Next to said
cabbage sit the blade from a dismantled
Vitamix, an unopened handheld spiralizer
and more rogue nuts than I care to count all
symptomatic of a phenomenon known in
the Vogue ofces as wellness fatigue,
whereby slavery to relentless health trends
has resulted in redundant household clutter
as well as complete emotional exhaustion.
Its not that Im rejecting the notion of
wellness in its raw form (the optimisation
of physical and mental health), and Id be
lying if I said I wasnt rst in line for every
superfood craze or new health check. In the
last year alone I have given up sugar, gluten,
grains and dairy (only to reintroduce three
out of the four), and had everything from my
DNA to my dreams analysed in the name of
wellness. And Im tired of it. the idea of a healthy lifestyle, explains and the lifestyle it dictates. I cant tell you the
Despite my fatigue, wellness remains Dr Bijal Chheda-Varma, clinical psychologist number of wellness accounts Ive unfollowed
seriously big business, with an estimated global at Nightingale Hospital. A mindset, she says, on Instagram, one tness-enthusiast friend
worth of $3.72 trillion (the worlds youngest is a persons collective thoughts towards tells me. When I ask her why, she says that
trillion-dollar industry) and a healthy annual something, and is instrumental the public pursuit of wellness
growth of 14 per cent. To satisfy this exponential in shaping their behaviours and &ADSTHAT has reached the eye-roll stage:
consumption, brands generate multiple attitudes. The least harmful a fatal symptom that something
manifestations of what is ultimately one singular result of a distorted mindset will BORDERON has become too generic to be of
premise health resulting in throngs of fads, be confusion and ambivalence. QUACKERY aspirational interest. For her, the
from the more mainstream trends (mindfulness, The most harmful would be the
superfoods, supplements) to ones that border manifestation of serious physical INCLUDE allure of devotedly following and
chasing the avocado-on-gluten-
on quackery (goat yoga being the pinnacle). and mental disorders such as hGOATYOGAv free-toast lifestyle has faded. A
The problem with all this constantly orthorexia [an obsession with quick poll on my WhatsApp
?<CDLKE<NKFE

changing information on what to eat or healthy eating] and over-exercising. reveals shes not alone, with most friends
which exercise class to take is that people Its little wonder, then, that many people declaring wellness to be one of the most
begin to form distorted mindsets towards are beginning to reject the idea of wellness tedious topics of dinner-table conversation, >


70(6&
BEAUTY
and some going so far as to claim they actively
try to defy the clichd culture by posting
#real pictures. Meanwhile, sales of tness >F@E>LG >F@E>;FNE
trackers and wearable wellness devices have
plummeted. Market leader Fitbit revealed
a fourth-quarter loss of $146 million last
year compared to a $64 million prot the year
BROCCOLI REVERSE OSMOSIS
before. Jawbone, creator of the once-popular K_\Y\jk :_XiZfXcnXk\i#
Up tness tracker system, has withdrawn YiXjj`ZX dXZX#^fa`Y\ii`\j
from the consumer market entirely due to k_\i\`j \kXc
irreparable losses. These statistics resonate; in
my trunk of old electrical goods (because
who throws away electricals?) I nd a Jawbone
Up band, two Fitbits, a wearable posture
gadget and a bracelet that measures UV, NAPPING SOUND
all worn for a eeting few weeks, if at all. Pflcc]\\c]Xi BATHS...
If there is a platform to pick up on Y\kk\i]fi`k Xe[ZipjkXc
emerging social mood it is the catwalk, and XliX
FC@M@8MFE d\[`kXk`fe
designers are seemingly mirroring these ?8CC<<P<D8JB
feelings of fatigue. Up until last season @E;@FE<#.'

Alexander Wang, a pioneer of the sports-

TRANSFORMING
luxe trend, could be relied on for his racer- WAITING WEEKS...
YOUR BICYCLE
back dresses, baseball caps and track pants >\kXe<`^_k`\j$\jhl\ ]fiXjcfkkffg\e
with the signature sporty side stripes. But his \o\iZ`j\Y`b\n`k_ lgXkjg`ee`e^ZcXjj
a/w 17 runway show revealed a punkish XKliYfKiX`e\i fi^fXkpf^X
party of rhinestones, fringed leather and
chain mail hardly gym-kit appropriate.
Speaking of gym culture (arguably the K8:O
biggest offender when it comes to fads, with K),'':P:C<
KI8@E<I#(''#
8K?8C=FI;J

3OMEACTIVELYTRYTODEFY K?<N<CCE<JJ98IFD<K<I1
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increasingly niche offerings such as Hula :L==#+*'#
8KE<K$8$
Hoop classes and yogalates chasing down GFIK<I%:FD
equally superuous predecessors), its also
beginning to show signs that people are UNDERSTATED WEARABLE
returning to more conventional forms of LUXURY TECH
exercise some of which wouldnt look out 8jkXk\d\ek ;`kZ_k_\
of place on a school timetable. Swimming Zl]]#fefe\ [\m`Z\j
has surged in popularity from 17 per cent ni`jkfecp
of Brits describing themselves as regular #
#
swimmers in 2014 to 31 per cent in 2016,
and the number of people taking up #
#
cycling has doubled in the same period
according to Mintel.
The whole point of wellness was that it
should become so ubiquitous that you forgot
LOGGING OUT
OF INSTAGRAM
OVERUSED HASHTAGS
Zc\Xe\Xk`e^ #
Pflbefn#aljk _\Xck_pgcXekgfn\i
about pursuing it; that living a positive feZ\`eXn_`c\ ]ff[jkpc`e^
and healthy lifestyle became a given rather
than something singled out as spectacular # #
J?LKK<IJKF:B2G?FKFJ?FK2A8JFECCFP;$<M8EJ2D@K:?<CCJ8DJ

and worth applauding on Instagram. That

it was meant to be easily implementable in
daily life not requiring six weeks worth of
advance bookings for Barrys Bootcamp,
SMART BUYS
which are then spent worrying about what GYM WEAR
@em\jk`eX
to wear to class. Instead, the former DXo\[flk
e\n$j\Xjfe
advocates of juicing and Pilates are starting feXk_c\`jli\
GiX[Xkn`ej\k
to cycle to and from work, go swimming on
their lunch breaks and even invest in old-
school exercise bikes. It seems that everyone
who has given up the pursuit of wellness is
getting on very well indeed. Q



FUNDRAISE ON
JEANS FOR
GENES DAY
fri 22 sept

Join Leomie Anderson and organise a

Jeans for Genes Day in your workplace to
help raise vital funds to support children
with life-altering genetic disorders.
By encouraging everyone around you to
wear jeans and donate, you will be doing
something amazing for these children.

SIGN UP FOR YOUR

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JEANSFORGENES.ORG
Jeans for Genes and , 2017 Genetic Disorders UK.
Registered Charity Number 1141583.
@EK?<LJ81:FE;yE8JK
70(6&
*/'03."5*0/
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givenchy.com Documented by Steven Meisel
D I O R . C O M - 0 2 0 7 17 2 0 17 2
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SEPT 2017

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How to wear autumn/winter 2017?
Dont panic: youll nd precisely what
you need to know right here.
Designers have departed from the
traditional idea of seasonal codes,
giving us plenty of everything from
diaphanous dresses to denim and
(of course) the usual coats and sweaters,
remixed in fabulous ways. There is real
fun to be had in breaking out the polka
dots and aunting your orals.
No shying away from accessories, either:
super-size earrings, colourful kitten heels
and ladylike bags are all yours for the
taking. As for lessons in workwear,
or styling your perfect suit? Weve got
the best tips on how you can cleverly
expand your wardrobe and hone your
look simultaneously. So make space
Youre going to need it.

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