2018 10 01 - Vogue PDF

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October 2018
70 to the street with

Masthead grids of wallpaper-
size plaid paired
82 with more of
Editor’s Letter the same
92 204
Up Front Silver
Landings
Olivia Laing vowed
Fall’s hard-hitting
never to sacrifice
metallics bring
her beloved solo cosmic cool
quarters. But when down to Earth—
a widower friend and translate
invited her to spaceman
move in, love—and shimmer into
homemaking— sporty chic
blossomed
210
104 The Warriors
VLife Is Stormy Daniels
Fall brings actress President Trump’s
Olivia Cooke most formidable
to screens big adversary? With
and small; floral her telegenic
designwares; and lawyer, Michael
one year after Avenatti, in her
Hurricane Harvey, corner, she isn’t
Houston is back backing down.
on its feet Amy Chozick
reports
181
Boss Lady 214
With her inspired Cracking the
big-screen debut in Code
Bradley Cooper’s When she’s not
new version of busy modeling—
A Star Is Born, Lady or planning
Gaga reinvents her upcoming
herself yet again. wedding—Karlie
At home in Malibu Kloss is working
with Jonathan Van on her other
Meter, she strips passion: helping
away the armor girls learn tech.
By Chioma Nnadi
192
Clash of 218
the Tartans Mother of
Take the custom of the Year
the country firmly Tammy Duckworth
has become a
heroine to working
PATTERN PLAY parents. But
MODELS REBECCA heroics from the
LEIGH (FAR LEFT, IN Illinois senator are
A JIL SANDER TOP nothing new. By
AND LEGGINGS) AND
ANOK YAI (IN A MARC
Rebecca Johnson
JACOBS DRESS). CONTINUED>62
VOGUE.COM O CTO B E R 20 1 8 39
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October 2018
E LIZAB ETH CO LOMBA. THE LIBRARY, 2005. OIL ON CANVAS, 36 ᥱ X 36 ᥱ. COURTESY OF THE ARTIST.
WELL READ
ELIZABETH COLOMBA’S ART REIMAGINES HISTORY. THE LIBRARY, 2005.
222 Broadway debut in them center stage. plaids and patterns,

Kenneth Lonergan’s By Dodie Kazanjian patchwork and Cover Look
Mutiny and Blonde Ambition
the Bounty The Waverly Gallery, ruffles: Gigi Hadid
Lucas Hedges is 232 shows us how Lady Gaga wears a Brandon Maxwell
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how we see—and Portrait Mode
thrilling ascent of A diverse crew Infallible Paints Metallics Eye Shadow
smell—this most Elizabeth Colomba’s in 400 Rose Chrome, and Colour
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subversive: good doing it
Tanno for Marc Jacobs Beauty.
226 revisiting black 234 Details, see In This Issue.
Golden Boy figures in art City Slick 250 Photographed by Inez and Vinoodh.
Making his history and placing Skirts and boots, Last Look Fashion Editor: Tonne Goodman.
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ANNA WINTOUR
Editor in Chief
Fashion Director TONNE GOODMAN
Features Director EVE MACSWEENEY Market Director, Fashion and Accessories VIRGINIA SMITH
Executive Fashion Editor PHYLLIS POSNICK Style Director CAMILLA NICKERSON
International Editor at Large HAMISH BOWLES Fashion News Director MARK HOLGATE
Creative Digital Director SALLY SINGER
F A S H I O N /A C C E S S O R I E S
Bookings Director HELENA SURIC Accessories Director SELBY DRUMMOND
Editors ANNY CHOI, GRACE GIVENS, ALEX ANDRA GURVITCH, WILLOW LINDLEY, ALEX ANDRA MICHLER Menswear Editor MICHAEL PHILOUZE
Associate Fashion Editors TAYLOR ANGINO, YOHANA LEBASI
Associate Market Editor MADELINE SWANSON Market Manager CAROLINE GRISWOLD
Fashion Market Assistant NAOMI ELIZEE Casting Assistant KELSEY LAFFERT Y
FA S H I O N N E W S
Fashion News Director CHIOMA NNADI Director, Vogue Runway NICOLE PHELPS
Fashion News Editor MONICA KIM Fashion News and Emerging Platforms STEFF YOTK A
Style Editor EDWARD BARSAMIAN Fashion Features Editor EVIANA HARTMAN
Archive Editor LAIRD BORRELLI-PERSSON Senior Fashion News Writers BROOKE BOBB, JANELLE OKWODU, LIANA SATENSTEIN
Fashion News Writers EMILY FARRA, RACHEL HAHN
BEAUTY
Beauty Directors CELIA ELLENBERG, CATHERINE PIERCY
Senior Beauty Editors K ATE BRANCH, LAURA REGENSDORF
Beauty Writer LAUREN VALENTI Beauty Editor JENNA RENNERT Beauty Associate ZOE RUFFNER
F E AT U R E S
Executive Editor TAYLOR ANTRIM
Senior Editors CHLOE SCHAMA, COREY SEYMOUR
Entertainment Director JILLIAN DEMLING
Culture Editor ALESSANDRA CODINHA Culture Writer BRIDGET READ
Living Editor ELLA RILEY-ADAMS Living Contributing Editor ALEX ANDRA MACON Living Writer ELISE TAYLOR
Assistant Editor LILAH RAMZI Features Associate NOOR BRARA
Features Assistants MICHAELA BECHLER, MARLEY MARIUS, LAUREN SANCHEZ Entertainment Assistant KEATON BELL
C R E AT I V E
Creative Director DAVID SEBBAH
Design Director AURELIE PELLISSIER ROMAN
Art Director NOBI K ASHIWAGI
Senior Designers IVANA CRUZ, SARA JENDUSA
Visual Director, Research MAUREEN SONGCO Senior Visual Editor, Research TIM HERZOG Visual Research Editor DARIA DI LELLO
Visual Directors NIC BURDEKIN, EMILY ROSSER Senior Visual Editor LIANA BLUM
Visual Editor OLIVIA HORNER Senior Visual Producer ERINA DIGBY Visual Producer IAN CRANE Visual Associate LINDSEY LAW
D I G I TA L /O P E R AT I O N S
General Manager PAMELA ABBOT T Digital Director ANNA-LISA YABSLEY
Executive Editor JESSIE HEYMAN Director of Engineering KENTON JACOBSEN
Editorial Business Director MIRA ILIE
Associate Director of Logistics MIMOZA NELA Senior Product Manager BEN SMIT Digital Content Manager OLIVIA WEISS
Director, Social Media GENA K AUFMAN Senior Manager, Social Media LUCIE ZHANG Manager, Social Media PUJA PRAK ASH
Lead Visual Editor, Emerging Platforms AMANDA BROOKS Associate Editor, Emerging Platforms NIA PORTER Production Manager MALEANA DAVIS
Associate Director, Audience Development ABBY SJOBERG Manager, Analytics SARAH LEE Digital Editorial Associate SEAN FELTON
Engineering Manager GILES COPP Product Manager K ATE DEVINE
VIDEO
Supervising Producer, Video KIMBERLY ARMS Senior Producer, Video DAYNA CARNEY
Producer, Video REBECCA FOURTEAU Associate Producers, Video ANNA PAGE NADIN, MARINA WEISBURG Editor, Video MICHEL SAYEGH
P R O D U C T I O N / C O P Y/ R E S E A R C H
Deputy Managing Editor DAVID BYARS
Copy Director JOYCE RUBIN Research Director ANDREW GILLINGS
Production Director JASON ROE Production Designer COR HAZELAAR Production Associate K ATIE CLARK
Copy Managers ADRIANA BÜRGI, JANE CHUN
Research Managers JENNIFER CONRAD, LISA MACABASCO, K AREN SMITH-JANSSEN, LESLIE ANNE WIGGINS
Fashion Credits Editor IVETTE MANNERS
S P E C I A L E V E N T S / E D I T O R I A L D E V E L O P M E N T/C O M M U N I C AT I O N S
Director of Special Events EADDY KIERNAN Special Events Manager CARA SANDERS
Interim Communications Director JILL WEISKOPF Director of Brand Marketing NEGAR MOHAMMADI
Executive Assistant to the Editor in Chief JASMINE CONTOMICHALOS Assistant to the Editor in Chief JESSICA NICHOLS
European Editor FIONA DARIN European Fashion Associates VIOLA MARELLA BISIACH, CAMILA HENNESSY
West Coast Director LISA LOVE West Coast Associate JULIA RUSSO
Head of Content Strategy and Operations CHRISTIANE MACK

CONTRIBUTING EDITORS
TAMAR ADLER, JORDEN BICKHAM, CAMERON BIRD, MIRANDA BROOKS, SARAH BROWN, GRACE CODDINGTON, SYLVANA WARD DURRET T,
ADAM GREEN, ROB HASKELL, NATHAN HELLER, LAWREN HOWELL, REBECCA JOHNSON, DODIE K AZANJIAN,
HILDY KURYK, SHIRLEY LORD, CHLOE MALLE, CATIE MARRON, LAUREN MECHLING, SARAH MOWER, JOHN POWERS, MARINA RUST,
LAUREN SANTO DOMINGO, TABITHA SIMMONS, ROBERT SULLIVAN, PLUM SYKES, ANDRÉ LEON TALLEY,
JONATHAN VAN METER, ELISABETH VON THURN UND TA XIS, SHELLEY WANGER, LYNN YAEGER
VOGUE
LIVING
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Lavishly illustrated, this beautiful book features stories from the pages of Vogue
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Introduction by Hamish Bowles.
PUBLISHED BY ALFRED A. KNOPF

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Letter from the Editor
BORN EVERY WAY
LADY GAGA’S HIGH-CONCEPT,
THEATRICALLY INCLINED GUISES, AS
SEEN IN THE PAGES OF VOGUE.
Stars
Realigned
ONE OF OUR FAVORITE THINGS to do at Vogue is re-
visit women we’ve featured over the years, checking in
to see how they and their lives have changed. And who
exemplifies the fascinating process of self-renewal and re-
invention better than cover star Lady Gaga? Ever since we
first photographed her back in 2009, as the witch in Annie
Leibovitz’s retelling of the fairy tale “Hansel and Gretel,” Jonathan met Gaga at her home in Malibu, where she
Gaga has always pushed herself to fantastical extremes: talked about finally feeling ensconced in true adulthood—
She has been pictured in our pages as everything from a and opened up about the many challenges she’s had to deal
pink-bobbed Weimar vamp to a Gibson girl—if Gibson with during her decade-long career. “You . . . make friends,
MARCUS P IGG OTT, VOGUE , 2012 . MARIO TESTIN O,
girls wore enormous ostrich-and-marabou-plumed hats you lose friends, you build tighter bonds with people you’ve
VO GU E, 2011. ANNIE LEIBOVITZ, VOGUE , 2009.
C LOC KWIS E FROM TO P LE F T: MERT ALAS AN D
and precious little else, that is. known for your whole life,” she told Jonathan. “But there’s
Her latest incarnation is very different. For her shoot with a lot of emotional pain, and you can’t really understand
Inez and Vinoodh, Gaga chose to strip away the theatricality what it all means until ten years has gone by.” Much of
of old for the relatively simple—and undeniably iconic— this newfound reflective maturity is due to the impact of
Little Black Dress. For her, it’s the equivalent of laying playing the lead in the Bradley Cooper–directed remake
herself bare, something that is borne out by the heartfelt (he’s also her costar) of A Star Is Born. Gaga is a revelation
conversations she had with Jonathan Van Meter, who writes in the movie, and her performance underscores not only
about her for the third time. That’s the other wonderful thing all of the life experience she brought to bear on the role,
about revisiting: It allows for subject and writer to continue but also the tantalizing promise that she still has more of
with each other in deeper and ever more meaningful ways. herself to reveal. EDITOR’S LET TER>90
Letter from the Editor
C O N T I N U E D F R O M PAG E 8 2
Elsewhere in this issue, which
is dedicated to change-making
women like Gaga, Stormy Dan-
iels, and Tammy Duckworth,
we profile Karlie Kloss, who
effectively grew up on the pages
of Vogue. After our article last
month in which we chronicled
the many pitfalls that can derail
young girls as they start model-
ing at a tender and vulnerable
age, Karlie’s tale is an altogether
more positive one of how some-
one can flourish because of her
involvement in the industry.
The smart and assured young THE MODEL STAYS IN THE PICTURE
WHETHER SHE’S ADORNED WITH ROSES (2014),
woman whom writer Chioma
STEVE N K LE IN , VO GU E, 2011. ARTH UR E LG ORT, VOGUE , 20 0 9. PATR I C K D E M A RC HE LI E R ,

CHANNELING A FIFTIES DEBUTANTE (2009), OR
Nnadi encounters is certainly PLATINUM BLONDE (2011), KARLIE KLOSS IS
ALWAYS RECOGNIZABLY HERSELF.
far more than the terrific model
VO GUE, 2014. C RAIG MCDE AN , VO GUE , 2012. MIKA E L JA NSSON, VOGUE , 20 1 5.

we all know her as.
Her Kode with Klossy project, a three-
year-old initiative to get teenage girls inter-
ested in tech, has only grown in stature and
substance: What started out as 20 chairs in
a New York City classroom has become a
summer-camp program offering scholarships
to 1,000 girls in 25 cities—and attempting to
redress the shocking gender imbalance that
exists in the tech industry. Melinda Gates
says of Karlie that “she isn’t who most people
picture when they hear the words computer
nerd, but that’s exactly what helps her reach
the girls she does. She’s proof that tech en-
trepreneurs don’t need to fit any one mold.”
I’m not sure I would have had Karlie
pegged as a budding tech mogul when I first
met her—in fact, I seem to recall she was keen
to study medicine—but I certainly sensed KLOSS ENCOUNTER
that she was going to grow into an accomplished and THE MODEL SHARED THE
MARCH 2015 COVER WITH BEST
successful adult. She’s often come by to discuss her FRIEND TAYLOR SWIFT; BELOW,
career with a levelheaded professionalism that is re- WALKING TALL IN 2012.
freshing, and she has always been as clear-eyed about

that as she was about how she should behave in the
public eye. Given that Joshua Kushner is her fiancé,
she will no doubt need her strength of character to
deal with the huge (and oftentimes intrusive) interest
in their relationship. Yet I suspect Karlie will deal with
that as she has done everything else in her life: with
her head held high.
© 2018 ALE X KATZ/L IC EN S ED BY VAGA AT ARTISTS RIG HTS SOC IE TY (ARS), N Y. COU RTESY O F ADAM BAU MGOL D FIN E ART.
Playing House
Olivia Laing vowed never to sacrifice her beloved solo quarters. But when a
widower friend invited her to move in, love—and homemaking—blossomed.
W
hen I was a child, my sister and time was because my mother, who is gay, was outed in our
I played a game in which we’d conservative village in Buckinghamshire. The second time
take turns describing our fan- we were escaping from her alcoholic partner. Meanwhile,
tasy house. Sometimes it was a at my stepmother’s enormous house, we were never given
rambling estate in Oxfordshire, an official room of our own, though there were five im-
complete with greenhouses and maculate spare bedrooms. We’d bed down in the smallest,
stables, dovecotes and roses. Sometimes it was a strawberry- which my father used as a wardrobe, moving piles of his
pink town house in Chelsea or a modernist apartment in sweaters from the beds, and in revenge stealing copious
Highgate, with a James Bond–style swimming pool on the pairs of his navy socks.
roof. We had no idea about property prices; we just wanted The final address of my childhood was on a brand-new
somewhere beautiful and messy, full of animals, a cluttered development in Hampshire, conjured out of fields, where
space in which we could be completely at home. every house looked alarmingly identical. My mother did
I’m sure this fantasy, which went on for years, was trig- her brilliant best to make us feel at home, but U P F R O N T> 9 6
gered by our own housing situation. Our parents were
WINDOW TREATMENT
divorced, and we seemed to move roughly once every “WE WERE REINVENTING WHAT THE CONCEPT OF HOME MEANT TO US,”
three years. Twice we actually had to run away. The first WRITES LAING. ABOVE: THE YELLOW HOUSE, 1982, BY ALEX KATZ.
THE NEW FRAGRANCE BY
A V A I L A B L E A T B A R N E YS N E W YO R K A N D O N B A R N E YS . C O M
H A R MON Y IS TH E SOURCE OF BEAUTY

T H E H A R M O N I S T. C O M
Up Front Roommates
it was hard to dispel the sense of temporariness that went total reversal of every relationship I’d had before, not least
with the raw red brick, the flimsy walls. because we were already living together before we made the
The result of this legacy was that as an adult I was both transition into couplehood.
frantic to have a home of my own and absolutely unable Because I was so aware of Ian’s grief, because I wanted to
to countenance sharing it with anyone else. I wanted a safe be gentle with what he’d lost, for months I disturbed noth-
space, a warm nest that felt nourishing and nurturing. More ing in the house, living as lightly as a hotel guest. I brought
important, I didn’t want anyone—be it a friend or a lover—to hardly any possessions with me: a toothbrush, a change
have any sort of control over it. of clothes, a book or two. It wasn’t like I needed anything
As soon as I could, I rented a flat by myself, high on a hill anyway. The house was full. Ian was a sexagenarian biblio-
in Brighton, the garden dropping steeply away from the back phile who’d already lived through two marriages. He had an
door. I loved solo living from the off. It was my name on the enormous library, including an entire room of 1930s first
tenancy agreement, my keys in my pocket. I was so gleeful editions. The kitchen contained every gadget yet invented,
that I painted a flurry of hearts above the stove. After years of as well as a taxidermied moorhen and a Globe-Wernicke
trawling flea markets, I’d assembled a cherished collection of bookcase crammed with nearly 100 Victorian glasses. Then
possessions, from Bauhaus dining chairs to Art Deco china there was his enormous collection of shoes, his dandyish
plates. Long before Instagram, everything was ready for its bathroom full of unguents and scent.
close-up. Nothing ever moved unless It was after a trip to New York
I moved it. It wouldn’t dawn on me that the dam broke. On my return,
for a long time that this was more like As an adult I was both I dropped my bags, went into the
a stage set than a home. sitting room, and realized the blinds
Whenever I took a new rental, usu- frantic to have a home of had been shut for years. The room
ally because the landlord had decided my own and absolutely was exactly as it had been when
to sell, I’d stay up all night, hanging Jenny went upstairs for the last
pictures and arranging furniture. A unable to countenance time—tangibly a space that had
single day of dispossession or disor- sharing it with anyone else been inhabited by someone who
der left me feeling literally unhoused, was dying. Her knitting was on the
my psyche dangerously uncontained. couch, her DVDs scattered across
No matter whom I dated or fell in love with, I carried on the table. “Ian,” I called tentatively. “Would you mind if
living alone. Whenever things got difficult, I could retreat. I tidied this room up?” With that single sentence, our life
It never occurred to me that this behavior might have been together truly began.
related to my abiding loneliness, or that my unwillingness There were limits, it turned out, to how long you could live
to share a space might have had something to do with why in an interior that had been shaped by your lover’s previous
my relationships kept petering out. marriage. Jenny and I had very different ideas about what
constituted an ideal living space. She loathed color and liked
I
would have gone on that way forever if in the autumn everything to be as neutral as possible. Her dream landscape
of 2016 my landlord hadn’t decided to renovate my was Antarctica, an expanse of obliterating white. Even the
house. By then I was nearly 40 and living in Cam- flowers in the garden had to be white, though at a pinch blue
bridge, in a dilapidated Victorian cottage. I’d man- was permitted. It was a very similar aesthetic to the one I had
aged to persuade him to let me build bookshelves and grown up with, and it made me jumpy.
stock the garden with an exuberance of flowers, but I wanted to change things, but because I’d been brought
the house was falling down. Huge cracks kept appearing in up in second marriages, I had a horror of becoming the new
the dining-room ceiling. There was no choice: I had to vacate partner who excises all traces of her predecessor. I loved
and let the builders fix it up. that Ian had loved before, and I didn’t want to remove the
After a long discussion, I decided to move in with my evidence of that. The beautiful black-and-white portraits
dearest friend, the poet Ian Patterson. Ian lived just round of Jenny: They were staying, absolutely, along with much
the corner, in a tall house with a long garden that ran down of the furniture they’d bought together. At the same time, if
to the rail tracks. The year before, his wife, the writer Jenny we were really going to make a home together, it needed to
Diski, had died of cancer. I hadn’t known her well, but I’d have room for both of us, and all our pasts.
seen from Ian’s devastation that he was losing the love of That summer, the house became a shared obsession. Al-
his life. He was in a rocky zone, tearful and unsteady. Did he most every day we drove to my increasingly forlorn cottage,
want company? Maybe. He wasn’t sure. gathering up armfuls of things we wanted to preserve. And
That “maybe” quickly turned into a wholehearted yes. almost every day we cast things out. Gone: the dusty exercise
Ian was nearly 30 years older than me. All the same, the act bike in the bathroom, the glass-topped table on which we daily
of cohabiting transformed our friendship into full-blown stubbed our toes. The blinds were replaced with wonderfully
love. Breakfast at the dining table together soon gave way tatty chintz curtains that had once hung in the billiards room
to morning tea in his bed, limbs entangled, exchanging the of a friend’s childhood home. The stiff leather chairs and
first drowsy sentences of all-day marathons of conversation. chrome lamps were traded for a battered emerald-green
For the first time in my life, I felt completely loved. It was a velvet sofa and fuchsia candles in Regency U P F R O N T>1 0 2
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Up Front Roommates
silver candlesticks. We spent the autumn poring over the where the fridge always contained a bottle of champagne.
Papers and Paints website. Established by an architectural Because we already lived together when we fell in love,
historian, it is a cornucopia of voluptuous historical detail. the process of redecorating was also the way we discovered
Should the bathroom mantelpiece be Etruscan red, Mort- ourselves as a couple. The nights we spent browsing for china
lake red, or Empire red? We painted our bedroom Imperial on eBay were the foundations of a life in which there would
Chinese yellow. It was like waking inside the yolk of an egg. be room for both of us, in which we could be secure and
Stroke by stroke, the house had begun to glow. content, and able to work. After all, we were both writers:
We needed space to be entirely solitary. In my first book,
I
t wasn’t all plain sailing. I was terrified of giving up To the River, published years before I met Ian, I wrote with
my independence, terrified of trusting someone else. longing about two famous literary partnerships, Iris Mur-
Though I was happier than I’d ever been, I probably doch and John Bayley and Virginia and Leonard Woolf,
cried more in those weeks than I ever have before. I was in which each half of the couple worked alone, steadied
as raw as an egg myself, made vulnerable by love. It felt by the knowledge that the other was nearby. “These two
both thrilling and an enormous risk, delivering my couples,” I wrote, “nurtured a kind of fertile separateness,
cherished things into another person’s house. How did I know a solitude à deux.” I wanted that, and now I have it, and it
Ian wouldn’t leave me or chuck me out? And what if he died? makes me happier than I can say. Marriage—I think this
After all, he was nearly 70. It was in the midst of this mael- all the time—is like a house. It contains many rooms. You
strom that we decided to get dream it up, a space you want
married, to make the impossible to live in. And building it takes
gamble of love as safe as possi- ingenuity, imagination, and
ble, to give it walls and a roof. real, sweaty effort. Marriage
Then, too, there was the is like a garden, too, like our
strange emotional labor of little patch of paradise. We
dealing with those things of enriched the soil, we planted
Jenny’s that Ian didn’t want to an apple tree; we stocked the
keep. He had arthritic knees borders with stripy tulips and
and couldn’t get into the at- scarlet dinner-plate dahlias.
tic where he’d stored them. I We cast a spell for fruitfulness
crawled in there day after day, and abundance in the depths
boxing up gadgets and char- of winter, and our reward is a
gers and winter boots. Jenny riot of cosmos and marigolds,
had been around the same age the bees ricocheting drunkenly
as my mother. Would I do it through the poppy heads.
for her? Who would do it for Indoors, it’s just as bright. I
me? I had no children of my taped a battered photograph
own, though I had abruptly of Diana Vreeland on one of
acquired three stepsons and the cupboards, but the kitchen
five stepgrandchildren. remains Ian’s domain, full of
Mostly Ian and I managed to his collection of KitchenAids
be gentle with each other, but MUG SHOT and ice-cream makers, his
THE AUTHOR, IN THE LIVING ROOM OF THE HOME
there were moments when the SHE NOW SHARES WITH HER NEW HUSBAND. carefully alphabetized spices.
stakes overwhelmed us. Once we In the sitting room, Jilly Coo-
looked up from a screaming row about skirting boards (was per nestles next to Proust, and a David Hockney monograph
the white too much like toothpaste? Did it resemble icing on cuddles up to Henry James. A felt chicken, clumsily stitched
a cake?) to see our painter, Mark, regarding us drily. We’d by my godson, has found its way to Ian’s study, where it
been shouting so loudly we hadn’t heard him open the front beadily regards books about the Spanish Civil War. The
door. It wasn’t the first time he’d been the unwilling witness fridge door is covered in mementos from both our pasts, as
to a fight about paint, he told us kindly. These things run well as our shared present. My favorite is a little magnet of
deep, we found. Battles over what a house looks like conceal Elvis in gold lamé, over which Jenny stuck a photo of Ian’s
larger and more primal fears, especially for those whose sense face, a sweet reminder of the playfulness of their relation-
of security was undermined in childhood. ship. There are still photographs of Jenny in almost every
That first day, when I asked Ian if I could tidy up, we began room, on a beach in Greece, in sunglasses and a floppy hat
a process that was about far more than simply changing a at Aldeburgh. An older writer whom I know once spent a
sofa or hanging new-old curtains. We were reinventing what tipsy lunch clutching my hand and saying, “You mustn’t
the concept of home meant to us, painstakingly building the feel jealous,” but I don’t. I’m only glad and grateful that
kind of life we wanted to inhabit. We wanted a space that Ian was so loved before, that he has such an abundance of
MIKE SIM
other people could feel at home in, too: where there were love to give to me. He is home. We both are. We live in an
spare beds and plenty of chairs, garden flowers on the table, edifice we built together, a house of love.

VELVET CRUSH
COOKE WEARS A
BALENCIAGA DRESS
Culture AND MIU MIU SHOES.
PHOTOGRAPHED BY
HANNA MOON.
Beauty FASHION EDITOR:
YOHANA LEBASI.
HAIR, TAMAS TUZ ES; MAKEUP, CAOI LFHI ONN G I FFOR D. D E TA I LS, S E E I N THI S I SSUE .
TA L E N T
One to
Watch
This fall, we can follow actress
Olivia Cooke on screens big
and small; just don’t expect
to see her on Snapchat.
OLIVIA COOKE SPEAKS WITH a thick Mancunian

twang, which may come as some surprise if you’re
familiar with the litany of American characters
she’s portrayed on-screen. Cooke has a talent for
accents—genteel British ones, she reports, are
tougher than American ones—and a knack for
disappearing into each role.
Those run the gamut. Only 24, the actress has
distinguished herself in indies and blockbusters
alike, excelling at playing a particular breed of
sardonic, prickly antiheroine: from the deadpan
teenage cancer patient in Me and Earl and the Dying
Girl to the high school Wednesday Addams type in
Thoroughbreds and the disaffected outcast flailing
toward love in this month’s epic, multigenerational
weepy Life Itself. “I’ve always found that these roles
can be incredibly two-dimensional on paper,” she
observes. “I want to punch them up.” TA L E N T>1 2 2

V L IFE
Cooke now lives in Brooklyn but hails from a “really swimsuit—and Calvin Klein racer-stripe jeans. Her eyebrows
working-class” northern England mill town. Early in her are bleached for a turn as a metal-head guitarist (and Riz
acting career, she attended a local theater workshop “be- Ahmed’s bandmate) in Darius Marder’s forthcoming Sound
cause,” she jokes, “my mum just wanted to get rid of me.” of Metal. “When I FaceTimed my mum, she was like, ‘Olivia,
By fourteen, she was doing commercials and modeling gigs. I can’t look at ya!’ ”
From the start, she was championed by the actor Christopher Cooke is self-deprecating, but only to a point. “As a woman,
Eccleston (she played his daughter in the 2012 BBC miniseries I feel like I should always be apologetic about my success,” she
Blackout), who advised that she take the time to train. Cut in says. “No! I’ve worked really hard!” But for all her high-pro-
the final round of auditions for London’s prestigious Royal file collaborations, her life is decidedly low-key: She quietly
Academy of Dramatic Art, she landed a dates fellow actor Christopher Abbott, sees
starring role on A&E’s Bates Motel and a ton of theater, and swears off social media.
moved, solo, to Vancouver at eighteen. “I “I never want to be “I never want to be part of a machine that
just had a different trajectory,” she reflects. makes a brand out of myself.”
Her bet paid off when she got the nod from
part of a machine Her next character would have no such
Steven Spielberg, who cast her as his hero- that makes a brand qualms. This December, Cooke will shed
ine in last spring’s Ready Player One. She any inherited Americanisms to take part in
tells a story about her first day on set, when
out of myself” Amazon’s adaptation of William Makepeace
she confessed to the director that she was Thackeray’s Vanity Fair. She’s pitch-perfect
terrified. (Her scene partner, to be fair, was Mark Rylance.) as lowly orphan Becky Sharp, whose gold-digging schemes
Spielberg’s response: “Oh, good; me too.” The film was a throw the absurdity of nineteenth-century British high society
box-office success but garnered mixed reviews, and it hasn’t into sharp relief. When we meet Cooke’s Becky, she’s making a
exactly changed Cooke’s life. It has, however, made it easier fair-pay argument to the snotty headmistress of the boarding
to get through customs. “You can drop the S-bomb and they school where she’s being kept as a sort of indentured servant.
instantly stamp your passport.” Cooke is familiar with that kind of dispute: “I have a really
Over a glass of chilled red wine at a restaurant near her good lawyer now,” she states when asked about Hollywood’s
apartment, Cooke is warm and disarmingly open, prone equal-pay problem. Each role, Cooke says, has come at just the
to doing impressions: of Bachelorette contestants (she’s right time for her to do some necessary soul-searching, and per-
sheepishly obsessed); of her own inner monologue; of her haps the ambitious, determined Becky Sharp is no exception.
mother. She’s wearing a crinkly red tank—it’s actually a “It’s like a little bit of therapy,” she says.—JULIA FELSENTHAL
FRAGRANCE
Roll with It
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Olivia Wilde had a busy summer. joined True Botanicals as a brand
“I was multitasking more than ambassador last year. But there’s
ever before,” the actress says, a link, she suggests, between
crediting a tiny fanny pack with its growing popularity and the
keeping her organized during collective search for balance
long days on set. Inside, among wherever people can find it—in a
other daily essentials, was a frosted-glass perfume rollerball,
prototype of True Botanicals’ or at a custom aromatherapy
new Stress Relief aromatherapy bar. The latter is a standout
oil, laced with mood-stabilizing feature of the company’s new
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reducing tarragon. Formulated which opens this month in San
in partnership with Kurt Francisco. Whether anointing
Schnaubelt, Ph.D., a chemist pulse points with, say, a bespoke
and the founder of the Pacific mix of orange and vetiver truly
Institute of Aromatherapy, aids in concentration is almost
it’s part of a new functional of secondary importance; the
fragrance trio, which includes simple ritual “is a reminder to
an immune booster with bay just take some deep breaths,”
laurel and a clary sage blend says Wilde, “and take a moment
to soothe aches and pains. As for yourself.”—CELIA ELLENBERG
122
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B EC AU S E YO U ’ R E WO R TH IT.™

L IFE
FAS H I O N
The “F” Factor

How should tradition and modernity coexist today? Fendi’s
newest Peekaboo bag suggests the answer. By Lynn Yaeger.
WHEN SILVIA VENTURINI FENDI was in London recently is seeking out, developing, encouraging, and employing a
with her two daughters, she had a simple request: Could they new generation of brilliant craftspeople. “Our young arti-
please stop for a coffee? If only it were so easy. “I said, ‘Let’s sans put their own imagination into what they do—I don’t
go to this place,’ and my daughter said, ‘No! They don’t know how many times they have come up with amazing
have organic coffee! We want to go to another place—they solutions,” Venturini Fendi says.
buy directly from Ecuador.’ So we walked and walked,” she The latest example of this is a spectacular one-of-a-kind
recalls, observing that her kids, like her younger consumers, iteration of the classic Peekaboo, a bag Venturini Fendi is
are demanding transparency and quality in what they buy. fond of because “the inside is always a bit of a surprise. I like
The whole notion of luxury, she says, now encompasses to keep it open; it falls in a very nice way.” When it is closed
something as basic as a coffee break. and its contrasting hues are hidden, it exudes, she says, “the
LUCA CAMPRI. DE TAILS, SE E IN THIS ISSU E.
Venturini Fendi is the daughter of one of the five famous idea of whispered luxury—it’s more secret.”
Fendi sisters, daughters of the house’s founders, and is the The first Peekaboo arrived in 2008 and was an immediate
creative director for its accessories and menswear. Today, hit. It was available in a multitude of leathers and in combina-
ensconced in her office in the company’s soaring head- tions from somber to wild, but it did not employ precious met-
quarters in Rome, she is wearing a shirt subtly printed with als and dazzling stones—well, not until now. FA S H I O N >1 3 0
Fs, from the men’s collection, and mulling the questions
of the day: How do we keep young people interested in AGING GRACEFULLY
preserving age-old techniques? How does a historic house TOP LEFT: FENDI’S UPDATED PEEKABOO EXISTS IN A RANGE
remain relevant when younger customers are demanding OF SHAPES AND COLORWAYS, INCLUDING A LEMONY CROCODILE
“MINI.” TOP RIGHT: THE ORIGINAL PEEKABOO IN SNAKESKIN,
goods that express their individuality? The answer, it seems, PHOTOGRAPHED BY RAYMOND MEIER, VOGUE, 2009.

E F F YJ E W E L R Y. C O M F I N E J E W E L R Y E S T. 1 9 7 9
V L IFE
The new custom-order Peekaboos, it must be said, call atten- The day before I met with the Fendi matriarch, I took the
tion to themselves with something at least as loud as a stage fast train to the Fendi workshop in Florence, where I saw
whisper, and they are a testament to the house’s commitment cutting-edge machines that splice leather with a laser, and
to rethinking its masterworks, honoring something old while swaths of Peekaboo-ready emerald-green crocodile being
dreaming up something brand-new. matched by hand. Upstairs, Fendi operates the Bagno a
These fresh Peekaboos have clasps that can be customized Ripoli leather school, which trains prospective and current
with precious gems and gold frames from the finest Roman employees in the ways of the house.
jewelers, and their sleek bodies depend on the rarest, most These ways have included the revolutionary introduction
exotic hides—all of which might strike you as examples of of fabric that uncannily impersonates fur. Where once the
extreme excess. But wait! Could it be that maybe the notion house was famous for pelts so airy and modern they mimicked
of a spectacular one-of-a kind treasure the sensuality of fabric, the company has
harks back to pre-capitalist times, when now reversed the equation: At its most
every accessory was made to order—when recent couture show, Karl Lagerfeld mi-
a purse was destined not just for a rul-
The company’s raculously transformed sequins and chif-
ing-class wrist but for a museum vitrine? unofficial mantra: fon into spitting images of shearling and
Venturini Fendi’s love of poetic purses sheared mink—mimicry so convincing
has its roots in her childhood. “I used to
“It’s not impossible— that Venturini Fendi confesses she herself
go to the Fendi store after I did my home- it’s stimulating!” is sometimes fooled.
work because my mother was working I am suddenly struck by a thunderbolt:
upstairs in the atelier. There was a room Could I order a New Wave–fantasy Peeka-
that had little drawers with all the evening bags inside— boo with an interior half sable and half chiffon masquerading
embroidered, with clasps in jade, in coral—and I used to as fur? Venturini Fendi loves this new take on whispered
play with them.” luxury. “It will be a conversation piece—you can tell your
Creating a handbag that can hold its own against the most friends to close their eyes and touch it!” She smiles. “There
rarefied antique treasures may be a challenge, but then again, are a lot of games you can play.”
in the company’s workrooms there is an unofficial man- Of course, games depend on a sense of playfulness, a fresh-
tra: “It’s not impossible—it’s stimulating!” Also promising ness, an originality that Venturini Fendi thinks can be sparked
to be stimulating is Fendi’s participation in LVMH’s Les only by new talent. And indeed, this old-meets-new ethos is
Journées Particulières—an open-to-the-public extravaganza brought home to me when I spy in a corner of the fur studio
from October 12 to 14 (followed by an invitation to local a young woman stitching a column of fairy-light leather,
schoolchildren) showcasing the house’s craftsmanship and operating an ancient machine with a foot pedal. But for her
its relationship to the city of Rome. Rumor has it that there T-shirt and her nose stud—and the delicious air-condition-
will be a graffiti theme. ing—she could be working in a nineteenth-century atelier.
D O C U M E N TA R Y streets of a rapidly changing Singapore. The

project would earn underground cred in the island
nation’s slender cinematic history as the greatest
indie movie never to see the light of day. That was
because of Georges Cardona, Tan’s 40-something
American teacher, who signed on to direct Shirkers,
then vanished, absconding with all 70 cans of
footage. (He left Singapore and later died.)
In 2011, Tan recovered the reels from Cardona’s
widow, and this month she’s unveiling a sort
of remix on Netflix. Also called Shirkers, it’s a
probing, wry, playful documentary showing Tan
STILLS LIFE searching for her younger self. Hovering creepily
A SCENE FROM
THE PASTEL
on the periphery is Cardona, a con man whose
DREAMSCAPE OF betrayal shaped Tan’s adult life—for better or
A Lost Art
In 1992, a budding Singaporean filmmaker named Sandi
SANDI TAN’S
QUIRKY, HOMEMADE
MASTERPIECE.
worse. A beguiling, stranger-than-fiction caper
about youthful gumption, older male coercion, and
female friendship, Shirkers is also, for Tan, a waltz
COU RTESY OF NE TFLIX
with the ghost of Cardona, who helped her create a movie as

Tan wrote a screenplay called Shirkers and recruited visually spellbinding as anything by, say, early Wes Anderson,
two cinephile friends—Jasmine Ng and Sophia Siddique and whose filmic obsession taught her to see her own life in
Harvey—to help produce it. The eighteen-year-old Tan played cinematic terms. “He wanted to be made mythic,” she says
S., a teenage outlaw with a distinctly Holden Caulfield–ian of her ambivalence at giving him his star turn. “But to tell our
worldview, who roams the sylvan landscape and dusty stories we had to tell his story.”—JULIA FELSENTHAL

V L IFE
LUSH LIFE
A VERDANT JUNGLE–
MEETS–SEASIDE
LOCATION INFORMS
THE NEW SPA AT
CHABLÉ MAROMA.
FAS H I O N
Hardy Girls
Model and muse to the world over—
most recently to the fine-jewelry makers
at John Hardy—Adwoa Aboah has now
taken to designing the very baubles in
S PA
Sea Do which she’s photographed. After fronting
a campaign for the Bali-based jewelers last
fall, she’s launching her own 34-piece AAxJH collection.
“I envisioned the girls that I love—my friends, mum,
sisters—wearing this jewelry,” she says. The collaboration,
as John Hardy creative director Hollie Bonneville Barden
explains, unfurled as smoothly as one of the brand’s
trademark chains (each woven by the adroit hands of
Ubudian artisans using reclaimed metals and ethically
sourced stones). Growing up around the corner
from a crystal store, Aboah had a wealth of
knowledge. “The stones are all tumbled
and naturally faceted,” says Bonneville
Barden. “When you hold them they give
S PA: FRAN K S IE MERS/ LAIF/RE DUX; ADWOA: ME RT AL AS & MARCUS PIG G OTT, VO GU E, 2017.
off this power, almost like a talisman.”
There’s a bracelet strung with milky
rubellite that mimics the effect of a
necklace looped triply around your wrist
and a necklace with a hematite pendant
that flirts with your décolletage.
Aboah’s favorite piece? Her Gurls
pink salt, clay, coffee, and tobacco; tired, tight mus Talk signet rings—named after the
female-driven digital forum she
cofounded. “That’s who my tribe is,”
she says.—LILAH RAMZI
participants endure chanting and oppressive tempera

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H E A LT H
Good Grief
As social media stirs a new kind of collective mourning,
Kate Branch ponders the public-private divide of loss.
A
t 1:52 p.m. on Sunday, February 5, 2017, home in Florida the next day. How I managed to land a
time and space ceased to exist. My uncle new job a few weeks later is a blur, but I do remember, just
called to tell me that my father, seemingly before my final interview, a future colleague reminding me
in the clear after his second round of che- to smile—as if I’d forgotten how. H E A LT H >1 3 7
motherapy, had died. My dad’s oncolo-
gist was shocked when he heard the news. ON THE BRINK
We all were. I don’t recall how I got to my brother’s later A NEW BOOK SUGGESTS THAT THE FIVE PHASES OF GRIEF SHOULD
ALSO INCLUDE ANXIETY—A STATE EXACERBATED BY THE DIGITAL AGE.
that evening, nor the details of how we traveled to my dad’s ABOVE: THE WEEPING WOMAN, 1937, BY PABLO PICASSO.

V L IFE
I followed the marching orders for my new life—head social media makes perfect sense. Where else do we now
down, knees up, left, right, left—and placed my grief in construct our autobiographies in real time?
exile, doubling over in pain only when alone, in the show- A month after her husband’s death, in 2015, Sher-
er. The office was a reprieve, the subway gave me time to yl Sandberg, the COO of Facebook, took her grief to
think, but the social-media landscape was a minefield. the social network that gave her Lean In fame, with a
Shared grief over the deaths of public figures, such as now-famous post, “I have lived thirty years in these thirty
Prince and Kate Spade, left me feeling stir-crazy. I wanted days,” an experience I instantly understood. My sister,
to participate in this collective wave of sorrow—these a jazz musician, dedicated her debut album, Fly or Die,
people, while strangers, had affected me greatly, too— to our father just three months after his death: “For my
but how could I when I hadn’t yet publicly registered the dad, Kenneth J. Branch, I hope this next flight is as fun
loss of my biggest hero? Every time I’d start to post the as the last one.” But I hadn’t managed to write anything,
picture I look at a dozen times a day—my father and I at save for a few drafted notes on my phone. I continued to
my wedding, our hands still entwined from our dance to wonder whether or not anyone else needed to see them in
“Rainbow Connection,” a song he played for me on his order for my healing to begin.
guitar when I was young—any caption felt incomplete, a
T
scratch on the surface of my unconditional love for him. here’s certainly personal catharsis in pub-
A year and a half in, I’m still lost at sea. lic displays of grief—“a validation in
The source of that unmooring might have a lot to do being exposed to people with similar prob-
with anxiety, suggests Claire Bidwell Smith, LCPC, a Los lems,” according to Brandon Stanton, the
Angeles–based therapist specializing in grief. Her new writer-photographer behind Humans of
book, Anxiety: The Missing Stage of Grief, questions New York. This documentary-style collec-
the popular wisdom, established in 1969 by Swiss psy- tion of images chronicles how regular people live—and
chiatrist Elisabeth Kübler-Ross, that grief comes in five often grieve—every single day. But is there more to it than
navigable phases: denial, anger, depression, bargaining, that? Can sharing these stories change a narrative that
and acceptance. Instead, she suggests that we make room too often confines grief to private, lonely spaces? Can it,
for anxiety, which currently affects 18 percent of the U.S. counterintuitively, lessen the anxiety we now know to be an
population—roughly 40 million people—no small thanks underappreciated part of the struggle? iO Tillett Wright,
to our pressurized, tech-driven world, where news alerts are the artist and activist behind the LGBTQI-friendly por-
unrelenting and the illusion trait series The Self Evident
of face-filtered perfection is Truths Project, believes it
impossible to avoid. The blossoming of grief on can, which led him to post to
“When you’re grieving, YouTube an unfiltered video
you have such a heightened
social media makes about suicidal struggles in the
awareness of the fact that we perfect sense. Where else do wake of Anthony Bourdain’s
have no control over any- we now construct our shocking death. (The food
thing. It’s there that anxiety legend was a mentor, serving
really blooms,” says Bidwell autobiographies in real time? as an executive producer of
Smith. Those repercussions a forthcoming documentary
can also play out physically, on Tillett Wright’s life.) “Los-
according to Julia Samuel, a grief psychotherapist who ing Tony was incredibly hard, and in that moment, I realized
compiled a heart-wrenching series of case studies in Grief that part of the problem is we don’t talk about our pain,”
Works, published earlier this year. “You go into flight- he recalls. “What’s most important is that we fill [our feeds]
or-fight mode,” she says, referring to the cortisol that with things that matter, that won’t cause more anxiety.”
floods the body when we experience loss, searching for I take a deep breath, open Instagram, and resolve to
survival. The hormonal release can cause symptoms such cast out my heartache. My finger hovers over the share
as dizziness, shortness of breath, heartburn, or a choking button, but I decide not to post—not yet, anyway. Instead,
sensation (which I experienced), as well as a fear that I type “#grief ” into the search bar. Images of Picasso’s
you might die. Exercise can help relieve this anxiety, says Weeping Woman and poems by Maya Angelou and bou-
Samuel, because it releases dopamine “that tells you you’re quets of wild geraniums and pink sunflowers fill frames.
safe now,” as do deep breathing, relaxation, and cognitive A news story about a critically endangered species of
behavioral therapy, adds Bidwell Smith. Learning where orca pops up, and I’m transfixed. For what turns out to
your thoughts are coming from—and “choosing not to be seventeen straight days, a mother whale named J35 (or
follow them,” she says—can also directly ease anxiety and, Tahlequah) has been carrying her dead calf on the tip of
eventually, grief. “If you can get these thoughts down, it’s her head across the Puget Sound. Sometimes she loses her
as helpful as talking them out.” grasp and nose-dives to pick the baby back up. “All day
As Joan Didion, no stranger to the tumult of sudden and through the night,” reads one post, “she mourns.”
loss, once wrote, “We tell ourselves stories in order to Undeterred, her family of whales swims slowly beside her.
live.” For a new generation, the blossoming of grief on Online, thousands of us keep vigil.
137
V L IFE
AMAL
CLOONEY IN
MONSE.
DESIGN
Plastic Fantastic
“I’m based in Ireland, as you can probably
tell,” says artist and sculptural furniture-maker
Sasha Sykes, her every word inflected with a
lilting brogue. She’s phoning from her Dublin
studio, where she crafts whimsical plant- and
petal-strewn works that betray her origin just
as clearly—the yellow gorse flowers, wild roses,
and ferns are all foraged from the foothills of the
Wicklow mountains by Sykes herself. Her pieces
were initially inspired by a job she held years
ago designing store interiors in London, which
introduced her to the aesthetics of plastics.
Sykes’s new work, a room divider, fixes seaweed
she fished from the Irish Sea in clear resin; it
forms a shape that pays homage to modernist
design pioneer (and fellow Irishwoman) Eileen
Gray’s famous “brick screen,” with its stacked
FLASH
alternating panels. See Sykes’s work at PAD
London’s fair in October and, come November,
Paradise
at Manhattan’s Voltz Clarke Gallery—two cities
to which the artist feels indebted: “It was living
in London and New York that gave me such a
Found
nostalgia and appreciation for how incredible
my country and landscape are.”—LILAH RAMZI
GREEN SCREEN
MORE THAN 40 PLANT VARIETIES APPEAR TO Wrap up in tropical-
FLOAT IN SASHA SYKES’S ROOM DIVIDER.
inspired prints for year-
round island style.
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V L IFE
BEAUTY
Head Start
A Copenhagen-based clinic
known for delivering
thicker, healthier hair puts
down roots in New York.
ON A RECENT MORNING in Manhat-

tan, a genial Danish biochemist is poised
above a magnifying lamp, ready to assess
my scalp. A frightful photo series on dis-
play, used to diagnose stages of hair loss,
offers a bird’s-eye view of a bleak future.
I am not in this camp yet, Lars Skjøth as-
sures me cheerfully. “You have wonderful
hair,” he continues. “But as you probably
know, you’ve had more.”
It’s true. My waist-skimming locks and
I have enjoyed a happy coexistence for 30-
some years, thanks to a low-intervention
routine: virgin color, shampoo every few THE FULL STORY
HAIR THINNING IN ITS
days, air-drying as a rule. But lately I’ve EARLY STAGES OFTEN
noticed a disconcerting shift. There are GOES UNDETECTED.
PHOTOGRAPHED BY
extra spaghetti-like twirls in the hairbrush; JAMIE HAWKESWORTH,
the drape of my bangs has gone from vel- VOGUE, 2016.
vet to summer-weight linen. With experts
suggesting that people can lose 30, even 40
percent of their hair before realizing it, when, if not now, is local Danish calendula, burdock root from Hungary, milk
it time to pull the alarm? That’s why I’ve come to meet with from grass-fed cows in Switzerland and Finland. Triple-
Skjøth, the founder of Copenhagen-based Harklinikken fermented, the anti-inflammatory extract purportedly
and a word-of-mouth resource for thinning hair since 1992. interacts with the follicles to bolster healthy hair growth
With clinics as far away as Reykjavík and Dubai (plus a against natural decline. The regimen is straightforward,
steady flow of Skype and FaceTime appointments), he is if a date-night buzzkill: A vinegar-like extract is applied
preparing to open his first New York outpost this month. twice nightly to the scalp, followed by diligent washing with
Skjøth’s reputation precedes him, thanks to a propri- Harklinikken shampoo. It specifically addresses heredi-
etary formula that sounds out of a Grimms’ fairy tale: tary hair loss, Skjøth explains, a process that leads to the
shrinking and gradual inactivity of hair follicles, affecting
IN TE RIO R AN D PRODUCT: COU RTESY OF HARKLIN IK KEN
as many as 50 American million men—and 30 million

women. While there is a profusion of scalp tonics and
salon treatments claiming to make a Chia Pet out of your
head, only minoxidil (the active ingredient in Rogaine) is
currently FDA-approved to treat female-pattern hair loss.
“People tend to dismiss it, but it’s a very potent agent,” says
Elise A. Olsen, M.D., director of the Hair Disorders Clinic
at Duke University Medical Center. As for methods not
documented in the literature—Harklinikken B E A U T Y >1 4 4
GROUND SUPPORT
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V L IFE
included—she says, “Frankly, I’m not interested until there’s months—until the new growth was so evident that she broke
a proper clinical trial of some kind.” the news to Skjøth, who adjusted the regimen to even her out.
That hasn’t stopped upwards of 100,000 clients from “It’s a slow process; you have to stick with it,” she warns
putting their faith in Harklinikken. (The company plans to me a few days after I begin massaging in the extract late at
conduct trials next year, once it secures intellectual property night before bed, effectively leaving my low-maintenance
protections; research is headquartered in Tampa, where med- life behind me. But in order to win the long game, you have
ical director Panos Vasiloudes, M.D., Ph.D., runs a network to start somewhere.—LAURA REGENSDORF
of dermatology offices.) After Skjøth peels back sections of
my hair to reveal sparsely forested temples, I mull over the
commitment (a monthly cost ranging from $120 to $140) CAPITAL GAINS
and a nagging sense of doubt: The before-and-after images The hair-growth market is taking off. Royal Fern packs its
are so extreme, they seem too good to be true. scalp-centered Stimulating Solution with circulation-boosting
“You’re right to be skeptical,” one client tells me, recalling botanicals and antioxidative fern extract. Omorovicza’s new
Revitalizing Scalp Mask pairs gentle exfoliating acids with
similar misgivings when she started treatment last November. nourishing oils. For an inside-out boost, Philip Kingsley’s Root
A Pennsylvania-based public-health Ph.D. in her 40s, she had Complex supplement takes a multipronged approach, with
been grappling with progressive thinning when she came to vitamin D3 (linked to hair health) and anti-inflammatory omega-3
Harklinikken, discouraged by the options on the market. in the mix. Nutrafol’s capsule, meanwhile, complements
the expected biotin with ingredients that can help balance
“I really wanted to know for myself on my own head: Is this stress and hormonal shifts (ashwagandha; turmeric-derived
going to work?” she says, describing how she applied the biocurcumin) to lay the groundwork for better hair growth.
extract only to the right side of her scalp for the first three
TELEVISION
Extended
Release
Drug-trial participants seek lasting
escape in Netflix’s Maniac.
From Black Mirror to Legion, television
has become obsessed with alternate
realities. Set in a slightly tweaked version
of today’s corporation-clogged America,
Netflix’s new ten-parter, Maniac, stars
Jonah Hill as Owen Milgrim, the troubled,
tamped-down son of a wealthy New York
family, who believes he’s on a mission to
save the planet. Enter the very blonde
Annie Landsberg (Emma Stone), a lost
soul desperately seeking relief from a
haunting episode in her past. The two take part in the trial season) excavates his characters’ emotional problems. For
of an experimental drug—invented by a maniacal scientist Owen, this involves lying to protect the thuggish brother
played with wild-eyed energy by Justin Theroux—that engaged to a woman he adores (Jemima Kirke); for Annie,
promises to guide them through a therapeutic reckoning it means facing her guilt over her shattered bond with her
with their most painful traumas. Of course, things aren’t sister (Julia Garner). While Hill is uncharacteristically muted
MIC HE LE K . S HO RT/ NE TFLIX
so simple. Owen and Annie are plunged into a slippery, in the opening episodes—his outer behavior is as subdued
mutating world that harks back to the kaleidoscopically as his inner life is explosive—Stone has never shown so
paranoid work of Philip K. Dick and Charlie Kaufman. Even much crackle. Her Annie is so real it’s scary.—JOHN POWERS
as the script offers deadpan satirical riffs on present-day
life—an inescapable company called Ad Buddy dispatches
LOVE AND OTHER DRUGS
human missives to recite brain-numbing advertising copy— EMMA STONE AND JONAH HILL BOND DURING AN
director Cary Joji Fukunaga (who did True Detective’s first UNORTHODOX MEDICAL EXPERIMENT.

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V L IFE
SKULL AND
BONES
TANA
FRENCH’S
LATEST NOVEL
FOCUSES ON
THE VICTIM OF
A CRIME. ANDY
WARHOL’S
SKULL, 1977.
BOOKS
Smooth Criminals
Two new books don’t so much bridge the divide between genre
and literary fiction as nimbly dart around it.
SINCE HER 1995 DEBUT, Kate Atkinson has carved out a Tana French was an actress before the 2007 publication of
niche as a stylistic interloper, elevating seemingly grimy crime her first book, In the Woods, and a strong sense of stagecraft
ART: AN DY WARH OL . S KU LL , 1977. SYNTHETIC POLYMER AND SILK SCREEN ON CANVAS, 15 ᥱ X 19 ᥱ.

fiction with her mordant wit and skipping from family sagas runs through her work. The Vermont-born, Ireland-based
to speculative fiction. She returns to radiant form with her novelist has made a name for herself with her addictive Dublin
PH OTO © C HR ISTIE ’S IMAGES/B RIDG EMAN IMAGES. © 2018 THE ANDY WARH OL FOUNDATIO N
latest, Transcription, a deceptively subversive spy novel set Murder Squad series, each of which centers on a different
FO R T HE V ISUAL ARTS, INC./LIC E NS E D BY ARTISTS RIG HTS SO C IETY (ARS ), NEW YORK .
around World War II. The bulk of the story takes place in member of an investigative team. Readers love her for her
1940, when the parentless eighteen-year-old hyperspecific setting—the crime-scene details are as vi-
Londoner Juliet Armstrong is recruited to work brant as those outlining the boisterous pubs and idyllic
for an obscure department of MI5. Tasked Sunday family lunches—and intimate prose that goes
with transcribing secret recordings of under- down warm and easy. Her latest, The Witch Elm, is her
cover agents and Fascist sympathizers, Juliet first departure from the series, and here she focuses
is handed a standing-room ticket to wartime on the victim, not the detectives. Toby Hennessy is
intrigue—in which, as she learns, conversations a handsome 28-year-old who works at a groovy art
about biscuits and pork chops figure as often gallery and dates a woman with a “sunflower heart.”
as those about Gestapo funds and invisible ink. The clouds gather when a pair of burglars come call-
The narrative jumps between the war years and ing and leave him for dead. He survives, though with
a decade later, when Juliet finds herself work- injuries that render him ill-equipped to withstand
ing for an educational BBC Radio program the head-spinning investigation that ensues when a
winkingly called Past Lives. One of the book’s human skeleton is found in the garden of his family
foremost preoccupations is the human impulse home. French has spun an engrossing meditation on
to boil down complexity: Spycraft especially memory, identity, and family—a mystery novel in
distills conflicts and crams people into tidy which the intrigue largely stems from its narrator’s
roles. But the borders cannot hold; Atkinson’s impaired mental ability. A master of psychological
story sneakily builds to a revelation that blasts complexity, she toys with the minds of her characters
all that to bits. and readers both.—LAUREN MECHLING

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V L IFE
FAS H I O N
Show and Tell

A new exhibition spotlights
Rodarte’s whimsy-filled archive.
IN EARLY AUGUST, Kate and Laura Mulleavy stood awestruck in
front of a giant board filled with images of runway looks from each
of their Rodarte collections over the last thirteen years. The sister-
S PRIN G 2018: ME RT ALAS AN D MARCUS PIGG OTT, VO GUE, 2018. MU LL EAVYS: E D TEMPL ETO N , VO GUE, 2017. FAL L 2016: PATRIC K DE MARC HE LI E R , VOGUE , 20 16. S PR I NG 20 1 1 : M A R I O TESTI NO, VOGUE , 20 1 1 .
designer duo was about to lend 97 of these pieces to the National
Museum of Women in the Arts in Washington, D.C., which orga-
nized its first fashion exhibition, “Rodarte,” opening on November
10. “It wasn’t just that we’d made all
these clothes over the years,” Kate Spring 2018
says. “But you could really see our “We presented this collection during
different voices—and in this climate, Paris couture, and it felt like we’d really
it’s important to focus on how we val- worked up to that moment. We let the
ue those creative voices.” We asked textures and color palette inform us
the sisters about three of their most as we went—and took materials that
noteworthy collections.—BROOKE BOBB people don’t think about in a fashion
context and transformed them. Baby’s
breath can seem mundane, but we
focused on how beautiful it was with
the knitwear. Also, we looked to the
LOOKING OUT,
LOOKING BACK characters in Robert Altman’s 3
LAURA (LEFT) AND Women—we wanted to do something
KATE MULLEAVY AT pink and delicate and darling.”
HUNTINGTON
BEACH, CALIFORNIA.
Fall 2016
“A lot of our inspiration comes from
growing up in California—we chose
this dress because we had a real Spring 2011
emotional connection to it, simply put.
It’s representative of a flower child, and “This season was based on the interiors that we grew up around and those found in
it exists in a sort of Art Nouveau world, San Francisco in the 1970s. You had different things coming together—colors like
which is usually more feminine than our chartreuse, blue, white, and a lot of brown. The shades were heavy. We did a series of
clothes are. One of the great things about wood-paneling prints and carved wooden shoes and combined those with blue-and-
the exhibition is that people will see our white china patterns. It was also a combination of seventies suburbia and redwood
pieces up close to get a sense of all of the trees, which have made their way into our collections in a lot of different capacities.
details that go into the collections.” We grew up in nature, and we’ve always been inspired by that.”

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V L IFE
BEAUTY
Golden Girl
B EAUTY: RIC HARD YOU NG/R EX/S HUTTE RSTO CK . DES IGN: DAN IEL SEU NG LE E/ PELLE.
a timeless one.—AS TOLD TO FIORELLA VALDESOLO

WALK OF FAME
IN A 1986 PHOTO FROM PATTI HANSEN: A PORTRAIT (ABRAMS).

V L IFE
N O S TA L G I A
to decide how to style it. We’d put it in foam curlers or
slather it with olive oil—doing our best to tame the dark
Seeing Red
curls, with greater and lesser degrees of accomplishment
and irritation. I wasn’t blonde or leggy like most of the
other girls in my class, and my mother was sympathetic.
She knew I wanted to be like everyone else at school, but
we didn’t live on Fifth Avenue, summer in Tuscany, or have
When Jessica Soffer was a girl, her a driver. She and my father were neither lawyers nor in
father cut her hair in a fit of pique. finance. She was the editor of a children’s magazine, and
my father was a painter and sculptor who had built his life
What followed was an apologetic trip around his art—the creation of it, the pursuit of it. And I
to Manhattan’s wig district—and had all this hair, despite our best efforts.
a chance for complete reinvention. We lived in a tiny one-bedroom on the Upper West
Side—I had the bedroom; my parents slept on a pull-
out—and so when my father was home I always knew
ONE SUMMER DAY WHEN I WAS SEVEN, my father what he was doing. And vice versa. Thank goodness for
chopped off my hair. In his defense, it was thick and dark my mother, who washed the paint off his N O S TA L G I A >1 5 8
and unruly and long—down below my shoulders—and al-
HAIR UP!
ways needed dealing with. My mother and I were constantly A DUTCH-BOY WIG IN VOGUE, 1969.
buying books or looking through old fashion magazines PHOTOGRAPHED BY BERT STERN.

V L IFE
pants and paid the bills and took me to school, and who cutting off stuff that didn’t matter. Fluff. He offered me
was also a translator of sorts, explaining to me why he anything that would make it right.
worked at the studio so long and late. “He’s thinking,” I cried that I wanted new hair, different hair. I wanted
my mother whispered in the mornings as she navigated to be better than the previous version of myself. I wanted
around my father—who was usually sipping hot water that immediately.
and staring at the ceiling. “A wig?” he asked.
He was an Iraqi Jew from Baghdad who grew up with, as “Fine, a wig.”
they say, nothing. He came to New York via Ellis Island in But because it was my father, we couldn’t just go shopping
the early 1950s and studied art at Brooklyn College. He’d for a tasteful wig in an uptown store. We had to head off on
become a successful painter and monumental sculptor, his a creative mission to the wig district in midtown, somewhere
work all over the world; but he spent whatever money he neither of us had ever been before. I remember trudging up
made solely on creative endeavors, and I can remember him one long, dark staircase after another, incredulous at the
using only one object in the kitchen besides silverware: a cavernous showrooms we stepped into. They were all dimly
fire-stained pot in which he made rice and beans and eggs lit, with walls upon walls of wigs: blonde and brunette and
and bread and oatmeal. “What else do you need?” he’d say. purple and curly and straight and bobbed and impossibly
long. There were ghostly mannequins standing at odd angles,
P
erhaps a polite way of saying it is that my wearing wigs of real hair and fake hair that we touched and
father wasn’t one for fluff or fripperies. He picked up. My father had me try on one wig after another
didn’t approve of nail polish or fake eye- after another.
glasses or inedible garnishes or beautiful, We spent that summer day going from shop to shop,
ill-fitting shoes, or even tablecloths unless from showroom to showroom. My father was gracious, full
they were quite literally protecting us from of pep—in his element. He spoke Hebrew to the Hasidic
a table or a table from us. owners and made them laugh. He spoke Arabic to the
More than anything, he believed, dogmatically, in giving Arabs. None of them knew what to make of him, or me.
the brain space to think. How could creative thoughts
I
possibly occur, he wondered aloud and often during my felt my luck had turned. I felt like a person who
childhood, when one was considering what to wear or what could be anyone she could imagine. I also marveled
restaurant to go to—or when one was obsessing over hair? that my father was willing to buy me anything.
And so, for the most part, instead of wearing nail polish, He and I were in cahoots, discussing the merits of
I read like mad, wrote in a journal, tore out The New Yorker each style. And finally, after maybe eight stops, we
cartoons and showed him my favorites as if to say, Look. found one.
I’m being creative too. Be proud of me. “There it is,” my father said. It was long, red, glamor-
And he was. But then, one day, he chopped off my hair. ously straight, frizz-free. His face lit up when the shop
I could kill him as I think about it now (me with a puffy owner ceremoniously lowered it onto my head. The wig
triangular bob, cross-legged on the floor in front of a made me feel better than anything I could have dreamed
full-length mirror, in tears and up—part radiant fashion model,
shaking). And also: This thought part Wonder Woman.
is cruel and I take it back. My fa- The wig made me feel better I went home wearing it, heavy
ther died of cancer nine years ago, and warm against my scalp. I took
when I was 24, and I miss him all than anything I could the wig off only when absolutely
the time. From this distance I see have dreamed up—part necessary. I started calling myself
him as wonderful, wise beyond Raquel—a name I didn’t even
words, compassionate, peaceful, radiant fashion model, part know how to spell. But this per-
and kind. He inspired me. We love Wonder Woman son was clear to me: an older girl,
the good parts of our parents ex- sophisticated, polished. I couldn’t
clusively until we see shadows of have imagined her with all my old
things otherwise. The haircut came at one of his lowest hair distracting me, taking up space. I paraded around our
moments. He was concerned with an installation that wasn’t apartment building, riding up and down the elevator, braiding
going well and with impossible tenants in the building he and rebraiding my red locks the way my mother had taught
owned and managed in lower Manhattan. Cutting my hair me, and tossing them about. My mother smiled at my antics
was a way of eliminating one distraction. and my father didn’t disapprove of them, and even if he
But oh, the emotional pain, the drama! The things we had I wouldn’t have cared. Something had changed—and
never forget—my mother, rocking me, promising me it it wasn’t just the hair.
would grow back and scowling at my father, who knew A wig is just a wig. Raquel was someone else. A char-
immediately what he had done. You could see it all over his acter—the first one I ever invented. “Do I look different
face: the fault and misjudgment and sorrow. Such deep and to you?” I asked the doormen, our neighbors, delivery
utter sorrow. He hadn’t wanted to hurt me or even teach me people. It took them a moment to figure out who I was.
a lesson. I’m sure he thought he was doing a good thing, “Yes,” they all said.

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V L IFE
T H E AT E R
That’s All Folk
T
here is no songwriter more quintessentially Ameri-
can than Bob Dylan, and yet it seems to have taken
an Irishman to translate the singer–songwriter–Nobel
laureate into another all-American art form: musical
theater. Conor McPherson, the Irish author of such
luminously mournful plays as The Weir and The Night
Alive, is bringing his take on Dylan from a sold-out run in London to
New York’s Public Theater this month. McPherson’s Girl from the North
Country is set in Duluth, Minnesota (Dylan’s birthplace), during the
Great Depression and tells the melancholy stories of a group of hard-
luck losers living in a rooming house. The musical is woven together with
songs from the Dylan catalog, both familiar (“Like a Rolling Stone”)
and less so (“Went to See the Gypsy”), that illuminate the boarders’ lives.
When McPherson was first presented with the concept of the musical,
he was skeptical—for one thing, he’d never written one—but then he
hit upon his idea for the setting. “I saw it as a kind of Eugene O’Neill
play,” McPherson says. “We didn’t have to be tied down to Dylan’s par-
ticular time, or now. His work chimes through all of American history.”
McPherson’s plays are filled with mystery, existential loneliness, and a
yearning for spiritual transcendence, making his sensibilities a natural
fit with Dylan’s. Plus, McPherson adds, “I’m very comfortable not
answering questions in a play. The audience responds in their bones as
opposed to through rational thought. Dylan is always elusive, speaking WHAT ABOUT BOB?
to a place that resonates on a deeper level.”—ADAM GREEN DYLAN, PHOTOGRAPHED BY DON HUNSTEIN, 1962.
MOVIES Parents learn about life, wrote Muriel which sounds normal enough until
Spark, from coping with their children. they enlist Richard’s stepniece, Sadie,
This education begins even before played by Kayli Carter in a career-
In a Family Way conception in Private Life, Tamara
Jenkins’s Sundance hit about a couple
launching performance. Jenkins
tells her story with precision, angling
struggling with infertility. Rachel into scenes that don’t go where you
(Kathryn Hahn) and Richard (Paul expect and winning such warm,
Giamatti) are New York bohemians restrained performances from Hahn
who’ve spent years trapped in the and Giamatti that we yearn for them
fertility-industrial complex. Eventually to get the happiness they deserve. We
they decide to try an egg donor,
DY LAN: DO N HUN STEIN /SO NY MUS IC. PRIVATE LIFE : JOJ O WH ILDEN /N E TFL IX.
feel the same for David (Steve Carell)
and his son Nic (Timothée
BEAUTIFUL BOY: F RANÇOIS DU HAMEL /COURTESY OF AMAZO N STU DIOS.
Chalamet) in Beautiful Boy,
a harrowing story about a
family’s painful, years-long
battle with drug addiction,
adapted from David Sheff’s
best-selling memoir. Director
Felix Van Groeningen neatly
BETTER TOGETHER balances Carell’s pained
THE STRUGGLE TO but sturdy love against
HAVE AND TO HOLD Chalamet’s quicksilver
ON TO A CHILD
ANIMATES TWO NEW brilliance; it’s a performance
FILMS. THE CASTS OF likely to win the young
PRIVATE LIFE (ABOVE)
AND BEAUTIFUL actor his second straight
BOY (RIGHT). Oscar nomination. If such a
shining light can slide into
self-destruction, the movie
reminds us, it can happen to
anyone.—JOHN POWERS

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L IFE SKIN CARE
The C List
CELEBRITY AESTHETICIAN Melanie Simon
thought she had all but perfected her signature
facial—a tailored mix of microneedling and
low-frequency electric currents that tightens
so effectively, it commands a four-month wait list.
Then she added a final step: a layer of highly active vitamin
C applied post-session. Made to Simon’s exacting specifications, her
Serum C features a specialized form of the plumping, brightening
OF ME LA NI E S I M ON S KI NCA R E . A RTWOR K: JAS PE R JOHNS, UNT I T LE D,

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to stabilize). This fat-soluble version is more expensive to produce,
SOFIE : FAS HI ON E D I TOR : C LA R E BY R NE . HA I R , E M I LY M OS I EV E ;
28 1/8″. THE M E NI L COLLECTI ON, HOUSTON, BEQUEST OF DAV I D

1990. WATERCOLOR AND GRAPHITE PENCIL ON PAPER. 39¼″ ×
she notes, but sinks that much more deeply into the skin. “I looked
like I had been on a nice, long vacation,” actress Sarah Paulson
says of the impressive glow that resulted after she absconded with
a sample of Simon’s serum. When Violet Grey founder Cassandra
Grey asked to sell it on her site, the limited run of 200 sold out even
before the labels were printed. Securing a bottle should prove easier
this month, with Serum C’s official debut. It is the first product to
arrive from Simon’s forthcoming skin-care range, which will be on
preview at her invitation-only treatment loft, slated to open this
month in The Broadway Hollywood, in Los Angeles. Spoiler alert:
Appointments are already filling up.—KARI MOLVAR
THE BRIGHT STUFF
LEFT: INCANDESCENT MODEL FREDERIKKE SOFIE, PHOTOGRAPHED
BY CLARA BALZARY, VOGUE, 2017. ABOVE RIGHT: SIMON’S SERUM C.
T RAV E L
Texas Strong
“It was like a tale of two cities,” will debut a brand-new drawing
says chef Chris Shepherd of the institute, kicking off with an
cataclysmic Hurricane Harvey– expansive exhibition of Jasper
induced floods last August that Johns’s charcoal renderings and
forced thousands of evacuations cheerful watercolors. The work
from some areas of Houston but left of Johns’s contemporary Donald
other regions relatively unscathed. Judd will be on display nearby—
Shepherd’s restaurant, One Fifth, not in a gallery but in the lobby
was lucky to avoid the worst of the of the just-renovated Lancaster
storm, and so “right off the bat,” he Hotel. Following a yearlong
says, “we were busy. People wanted rejuvenation of the 1926 structure,
to get away from everything.” A the property will enjoy “a new
year later, Shepherd is on the cusp focus of visual arts,” according to
of opening the latest iteration of Lancaster co-owner Jay Shinn,
One Fifth, which changes culinary an art patron and artist himself
themes annually. This month brings (his light-based work decks the
a Mediterranean incarnation that halls of Houston’s main airport).
will replace the venue’s previous “The city of Houston is resilient,”
French, Spanish, and Italian menus. Shinn says. As the saying—which
This buzzed-about concept in circulated on Instagram and
restaurant reinvention is just one of T-shirts post-storm—has it: “Don’t
the auspicious signs that Houston mess with Texas.”—LILAH RAMZI
is back on its feet. Next month, the
Menil Collection (renowned for TAKING SHAPE
JASPER JOHNS’S UNTITLED, 1990, ON
its illuminated Dan Flavin sculptures VIEW AT THE MENIL DRAWING
and exquisite Cy Twombly Gallery) INSTITUTE’S DEBUT SHOW.

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V L IFE CURVES AHEAD
JEFF KOONS’S SPLIT-ROCKER (LEFT) AND RICHARD
SERRA’S CONTOUR 290 (BELOW) ARE AMONG
THE WORKS ON GLENSTONE’S 230-ACRE CAMPUS.
ART
A Natural
Palette
With a groundbreaking
expansion, Potomac’s Glenstone
Museum establishes itself as a
great modern-art Mecca.
ONE OF AMERICA’S LARGEST private art mu-
seums is set far back from the road, about an
hour outside Washington, D.C., past a scatter-
ing of cardinal-red barns and miles of split-rail
fences. The rural Maryland plot seems an unlikely location for like this was where it should be”—a destination akin to
a contemporary-art collection. But just past the entry gate, Dia Beacon or MASS MoCA.
a 37-foot-tall half-pony/half-dinosaur covered in flowering Indeed, the museum thrives on the interplay between site
plants—Jeff Koons’s Split-Rocker—rears its head. and art—it is one of the few institutions of its scale explicitly
Since its opening in 2006, the Glenstone Museum in designed to pull visitors from the canvas to the window to
Potomac has operated with a relatively low profile. That is the walking path and back again. There’s even an artless,
JE F F KOO NS. S PLIT-RO CKE R, 2000. RIC HAR D S ERRA. CON TOUR 2 9 0, 2004. TO NY SMITH.
set to change this month, when the institution will open the windowed room, intended to showcase a verdant hillside that
Pavilions, a set of modernist structures nestled within the might have been conjured by Andrew Wyeth. A bookshelf
S M UG, 1978–2005. PHOTOS: IWAN BAAN. COURTESY OF GLENSTONE MUSEUM.

230-acre former foxhunting estate. The new space isn’t so in that same room houses such material as Jonathan Swift’s
much an addition as a radical transformation: Glenstone’s Gulliver’s Travels, a recommendation from environmental
footprint will swell from 30,000 to nearly 300,000 square feet, sculptor Andy Goldsworthy. “I was in here yesterday with a
and the number of yearly visitors is expected to grow from visitor sitting on the bench,” Emily says, “and we saw a little
25,000 to some 100,000 patrons. fox creeping up the hill,” almost as if it had been planned.
Glenstone is the long-term passion project of cofound- “Cue the fox!” she adds, laughing.
ers Emily Wei Rales, a New York gallery–world veteran, Whatever communion the museum offers with the natural
and her businessman husband, Mitchell Rales. In the late world, it is also a worthy pilgrimage for the most ardent art
eighties, Mitchell scooped up the land on which the museum lover. One striking gallery is filled with three canvases from
would eventually be built, saving it from subdivision, and the Japanese conceptual artist On Kawara, titled Moon
constructed a soaring, light-filled house that still stands on Landing—a unique work, acquired only after a patient and
the property. Over the years, the couple quietly established persistent campaign. Emily leads the way to another room,
themselves as discerning, powerful collectors, acquiring where five Cy Twombly sculptures that the artist called his
works by Barbara Kruger, Richard Serra, Ellsworth Kelly, “companions” stand. She claims she doesn’t play favorites
Charles Ray, Roni Horn, Louise Bourgeois, and other with the art, but her affection for these figures is evident.
postwar lights. They never considered moving the art to “He felt very attached to them,” she says—he only offered
an urban space, Emily says during a tour of the unfinished them to Glenstone in the last year of his life. “It’s almost like
work site on a drizzly morning in late May. “We just felt he wanted to find a good home for them.”—HILLARY KELLY

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V L IFE
often with limited-edition launches and sell-out capsule Flesh 5, Fever Dream, and Guinevere—speak to me. (With-
collections, that are stoking the flames of cosmetics con- in a week, the Divine Nine Kit—$275 for those three colors,
sumption as never before. For me, buying makeup used to plus six more—is unavailable.) The truth is, I don’t really
involve an occasional leisurely stroll through a department need more lipsticks. So why do I desire them?
store’s ground floor. I was a flaneur among the lipsticks, “ ‘Limited edition’ triggers a belief about scarcity, and we
letting my eyes wander until they settled on the perfect connect scarcity to what is rare and precious,” says Professor
red—usually something French, by Chanel, YSL, or Dior. Ravi Dhar, director of the Center for Customer Insights
I would try it on, and hem and haw, at the Yale School of Management.
before plunking down my money and “It also reframes the thinking around
swearing devotion to the same bullet Is any other commodity buying: from ‘Should I buy or not?’ to
until it ran dry. Now, it seems, people advertised with such ‘If I don’t buy right now, it may be un-
plot out their makeup purchases with available.’ ” The influx of emails I’m
a hunter’s skill. naked appeals to now receiving certainly hammers this
“The paradigm in beauty has truly overconsumption? point home. On a Wednesday morn-
changed forever,” says Pat McGrath, ing: “KKW Beauty Crème Contour
the engine of chic behind Pat McGrath (These days, even & Highlight Kits are Back in Stock!”
Labs, which the makeup artist–guru, alcohol ads caution us to I click to shop but hesitate when the
known throughout the industry as heavy lines of color on the models’
“Mother,” memorably launched three “drink responsibly”) faces, pre-blending, remind me of
years ago by dabbing a mysterious gold Fauvist portraits. On Friday, also from
powder onto the lips and eyelids of supermodels and passers- KKW Beauty: “Nude Lipsticks and Lip Liners are FI-
by at Paris’s Tuileries gardens. The guerrilla-style event ignited NALLY here!” Overwhelmed, I wait a day or two, a brief
a firestorm of interest; weeks later, 1,000 pots of her Gold delay during which the set sells out.
001 pigment sold out online within minutes. That marketing
W
coup set off a series of similar “drops,” stealth product debuts ith an urgent cosmetics event
from a new generation of brand founders—Kim Kardashian happening, seemingly, every few
West (KKW Beauty) and Rihanna (Fenty Beauty) among days, “alarm fatigue” quickly
them—designed to break the internet, or at the very least sets in. (The condition, affecting
cause service interruptions. medical professionals who grad-
I begin to wonder how much product one really needs ually become desensitized to the
to look good. The numbers, after all, are sobering. The constant beeping and buzzing in hospital intensive-care
average woman in the U.S. spends around $300,000 on units, is in fact a serious real-world concern.) But inspired
makeup in her lifetime—funds that, while not sufficient to by a Fenty-loving friend, I set a reminder for the launch
purchase a Manhattan one-bedroom apartment, could put of Rihanna’s special-edition Diamond Ball-Out Killawatt
a child through four years of private college. And current highlighter—a plush, silver illuminating powder scheduled
trends suggest that sum is unlikely to diminish anytime to launch on August 1 to benefit the singer’s Clara Lionel
soon. To better understand this feeding-frenzy attitude, Foundation. By the time the date rolls around, though,
I sign up online for news about the latest product drops. I’m tying up a million loose ends regarding an upcoming
Within minutes, messages from Fenty Beauty (“YOUR trip to Greece, polishing up another story I’m writing, and
ADDICTION STARTS NOW”) and Pat McGrath Labs hustling to get dinner on the table for my son. Who has
(“MOTHER WANTS YOU TO SAVE 10 %”) pop into my time to think about anything else?
in-box. Pat herself writes that she is thrilled that I share her “Just focus on the thing you love,” counsels makeup
“OBSESSION with makeup. Let’s INDULGE WITHOUT artist Daniel Martin, a brand ambassador for Dior and
CAUTION together!” she exhorts. creative color consultant for Honest Beauty, who more
Is any other commodity advertised with such naked recently became known as part of the Duchess of Sussex’s
appeals to overconsumption? (These days, even alcohol wedding-day glam squad. That’s good advice at any age.
ads caution us to “drink responsibly.”) Still, I click and Martin’s French grandmother, for example, never left the
explore Pat’s MatteTrance Lipstick line, where the instruc- house without lipstick. “I introduced her to other brands,”
tions for multistep, professional-style application extend he says, “but she always went back to her $4 Revlon find.”
far beyond my usual swipe and run. I order Vendetta, a There’s something about focusing on the things I could
lust-inducing dark red, and Elson, a brighter crimson love, and that everyone else seems to love, that I’ll miss—
with a hint of blue, and a few days later they appear on the spike of adrenaline with every notification; the thrill
my doorstep, wrapped in beautifully designed little boxes, of the hunt and, especially, of the get; the chance, as a
each containing a pleasingly hefty, lacquered stick adorned new product arrives, to become someone new. “Makeup
with a bas-relief of gold lips. This is lipstick as a labor of is freedom at the highest level,” McGrath tells me, and I
love, silky smooth and easy on the mouth, rich, matte, want to believe her. But there’s also great power in an un-
opaque, and long-lasting. I’m hooked. In late July, when cluttered life, taming your desires, and, above all, knowing
McGrath announces ten new shades, three of them— what works for you.

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V L IFE OFF- AND ON-DUTY
SHARMA IN A ROKH
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Seeing the Light

SHARMA AT DOLCE &
GABBANA’S ALTA MODA
SHOW IN ITALY’S LAKE
COMO, JULY 2018.
Indian model Dipti Sharma’s star is rising—as much

for her trailblazing barrier-breaking as for her beauty.
WITH HER
OUTSIDE, THE SUMMER SUN in Hell’s Kitchen is hanging
on the scaffolds with a brightly yellowed haze. Inside, in the
basement of a West Forty-ninth Street gym called TMPL, the
RAMNAGAR, INDIA.
climate is starkly different: The air is cold, and overhead, UV
mood lamps cast a purple glow. Glancing up, the 23-year-old
Rudrapur, India–born model Dipti Sharma smiles and says,
“You know, my name means ‘light’ in Hindi.”
Sharma, who lives nearby on the East Side, arrived in
Manhattan just over a year ago, and she loves it. “Even if I am
in a bad mood, I’ll go out and be fine,” she says. “I think it’s
the adrenaline.” Since surfacing on the worldwide modeling
circuit when she walked (exclusively) for Balenciaga’s spring
2018 show, she has starred in an ad campaign and appeared
on runways for designers including Michael Kors, Dolce &
Gabbana, Alexander Wang, and Dries Van Noten. Still, it’s
a long arc from growing up in northeastern India to becom-
ing one of the most buzzed-about models of the moment.
Given India’s virtual absence from the field of internationally
represented models (along with that of many FA S H I O N >1 7 8

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COLOR NOT
COVERING V L IFE
GRAYS AS southern and southeastern Asian countries)—it’s a milestone feat
that took both guts and nonstop gumption.
PROMISED? “I got the idea of glamour from my mother, who wanted to
be Miss India—or an air hostess,” says Sharma. “I was told by
someone early that I wasn’t beauty-pageant material, but that
maybe modeling could work.” She’d watch FashionTV as an
adolescent and soon veered away from the career route that her
father, in particular, had planned: “a regular job, maybe the Air
Force or something managerial. My dad was not supportive of
modeling—he wanted me to study.”
A
No gray left behind. As promised. s a teenager, Sharma spent time shuttling
Plus all the nourishment of Nutrisse. to New Delhi, about five hours southwest
of Rudrapur, and Mumbai, telling her par-
ents to give her three months to get signed.
She eventually won a modeling contest in
2015, when she was 20, but was still not sure
she’d be brought on to an agency. In fact,
when Balenciaga sent a scout to India in 2017, Sharma was dis-
missed. The pressure was starting to weigh heavily on her. “There
was a point when I was doing jobs here and there when people
were just”—she pauses—“cruel. They’d tell my sister, ‘Dipti is
cheap.’ ” She pauses again, looking away. “That was hard for me to
hear. I struggled with that.”
Sharma says much of this was due to India’s societal pressure
for girls to go to school, come home, and get married. (She adds
that, since becoming known, she has received dozens of messages
from aspiring Indian creatives, tell-
ing her that they’d found the courage
“Dipti adds presence to to stand up to their parents after
seeing her success.)
everything she wears,” Her momentum began to acceler-
says Michael Kors ate when she went to Paris last Sep-
tember and re-met with Balenciaga,
this time with Lotta Volkova, the
label’s stylist. Sharma nabbed the spring exclusive, along with a
new haircut, a kind of neatly elongated bob. This was in and of
itself a bold departure from the cultural norm, given her mother’s
Sikhism, which prohibits hair-cutting—though Sharma herself
Available in 8 Shades is not religious.
Sharma seems relieved at her success, her trademark toughness
softened by knowing she’s in her ascent. She’s also in extraordinarily
good shape: She boxes; she runs; she plays pickup basketball.
And the family pressure? Sharma laughs. “They are now proud!
If I don’t call my dad for a day, he will call, like, 20 times. He’s like
NOURISHED HAIR, the kid now.”
But even with her big breakthrough within reach, lingering
ULTRA COVERAGE cultural roadblocks remained. “On that Paris trip, before I booked
Balenciaga, I’d been told by some friends in the industry, ‘You’re
Indian and you’re brown—people might not take you as seriously
FROM THE in Paris in the beginning.’ ”
#1 NOURISHING Now, with fashion deeply immersed in trampling barriers, beauty
is becoming less stratified. It’s progress that, Sharma says, extends
COLOR CREME * to India. “In the past year or two, the big agencies have sent a lot of
scouts over,” she says. Michael Kors, who cast Dipti for his fall 2018
runway, adds, “I think Dipti adds a real personality to everything
she wears—she has a modern elegance, strength, and a real pres-
garnierUSA.com ence. And I was knocked out by her fabulous hair!”—NICK REMSEN
*Based on Nielsen xAOC 2017 Unit Sales

© 2018 Garnier LLC. 178 O CTO B E R 20 1 8 VOGUE.COM
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Photographed by
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Lady
With her inspired big-screen debut in Bradley
Cooper’s new version of a star is born, Lady Gaga
reinvents herself yet again. At home in Malibu with
Jonathan Van Meter, she strips away the armor.
LADY GAGA’S HOUSE IN Malibu is on a relatively looks, at first glance, as if it belongs in the South of France.
nondescript road just off the Pacific Coast Highway, A cheerful young fellow greets you at your car, explains
situated in what feels (for Malibu) like a normal subur- that he is the head of security, and asks you to sign an
ban neighborhood. When the gates to her compound NDA. There are at least a dozen other cars parked around,
swing open, you head down a long gravel driveway that most of them belonging to people who are doing some
threads through the multi-acre property, past the fenced- kind of work here—taking care of the property or the
in ring where she rides her horse, Arabella, past the barns lady in residence in one capacity or another. The whole
and the stables and the giant barking dogs, Grandpa and setup is both grand and yet, somehow, unassuming (for
Ronnie—and pull up to a house made of fieldstone that a rock star’s house in Malibu).
REST ASSURED
“This is my sanctuary,” Gaga says of her Malibu home.
“I call it my ‘gypsy palace.’ ” Givenchy faux-fur coat.
Fashion Editor: Tonne Goodman.
W
hen Gaga comes down
the stairs and makes
her entrance on this I ask her what has changed for
hot, do-nothing Au-
gust afternoon, she her over the last ten years. “A galaxy,”
is wearing a diapha- she says, and laughs. “It’s been
nous periwinkle robe
with ruffled edges a nonstop whirlwind”
that sweeps the floor,
nothing underneath
but a matching bra
and thong—along in 1954 and Barbra Streisand and Kris Kristofferson in
with nude kitten heels 1976. Gaga thinks of it less as a remake than as a “travel-
and Liz Taylor–worthy diamond jewelry. Having just ing legacy.” Directed by Cooper, in his debut, the film is
returned yesterday from a long, restful vacation on some remarkably assured, deeply engaging, and works on several
remote tropical island with her boyfriend, she is unchar- levels: as a romance, a drama, a musical, and something
acteristically tan, and as she leads me out through the else entirely, almost as if you’re watching something live,
French doors into the garden, I can see nearly every one or documentary footage of a good old-fashioned rock-
of her tattoos—and her shapely behind—through the ’n’-roll concert movie. “I wanted to tell a love story,” says
robe. There are roses trembling in the breeze, and a long, Cooper, “and to me there’s no better way than through
sloping, grassy lawn that leads down to a pool and the music. With music, it’s impossible to hide. Every fiber of
Pacific Ocean beyond, flickering in the high afternoon your body becomes alive when you sing.” As Sean Penn
sun. “This is my sanctuary,” she says. “My oasis of peace. said, after seeing the film more than once, “It’s the best,
I call it my ‘gypsy palace.’ ” most important commercial film I’ve seen in so many
She bought this palace about four years ago, when she years,” and he described the stars as “miracles.” Cooper
was going through a rough patch—both physically and and Gaga, and the film itself, are likely to be nominated
mentally—and has been spending more and more time for all manner of awards.
here lately. “I just got rid of my place in New York—it was Cooper is a revelation, having utterly transformed him-
too hectic every day outside on the street,” she says. As we self into a booze-and-pills-besotted rock star: He learned
stand there looking out at the ocean, I ask if she’s happy. how to play guitar, worked with a vocal coach and a piano
“Yes—I’m focusing on the things that I believe in. I’m teacher for a year and a half, and wrote three of the songs.
challenging myself. I’m embarking on new territory—with “All because of Gaga,” he says. “She really gave me the
some nerves and some overjoyment.” (Gaga has a funny confidence.” His singing is astonishingly good. Gaga,
habit of making up words that always make perfect sense.) whose only acting experience is in some of her early vid-
“It’s an interesting time in my life. It’s a transition, for sure. eos (Google the long-form versions of “Telephone” and
It’s been a decade.” “Marry the Night” if you want to see the early promise),
In April, Gaga noted on her Instagram that it was the various episodes of American Horror Story, and a couple
tenth anniversary of her first single, “Just Dance.” It was of cameos in Robert Rodriguez films, not only holds her
the song of the summer of 2008—the final hours of the own with Cooper but somehow manages to make you
golden years, just before the economy imploded and the completely forget that she is Lady Gaga—no small feat. But
Great Recession took hold—and almost immediately, she what really makes this film sing, as it were, is the impeccable
became the biggest pop star in the world, haunting our chemistry between the two stars, particularly their early
dreams—and nightmares—with monsters, meat dresses, scenes of meeting cute and falling in love, which are some
and some of the stickiest melodies ever written (GAAAA- of the most touchingly real and tender moments between
GA OOOH-LA-LA!). When I ask her what has changed two actors I’ve ever seen.
for her over these last ten years, Gaga, who’s 32, says, “A Gaga and I have moved inside and taken up spots on the
galaxy,” and laughs. “There has been a galaxy of change.” boho-chic sofas in the sitting room off her kitchen. She opens
She pauses for a moment. “I would just say that it’s been a bottle of rosé. There are candles flickering, cut flowers on the
a nonstop whirlwind. And when I am in an imaginative table. Gaga first met Cooper at Saturday Night Live about five
or creative mode, it sort of grabs me like a sleigh with a years ago, but only briefly, and then one day in 2016—having
thousand horses and pulls me away and I just don’t stop signed on to make A Star Is Born and in the early stages of
working.” Another pause. “You . . . make friends, you figuring out who could play Ally to his Jackson Maine—he
lose friends, you build tighter bonds with people you’ve went to a cancer benefit in Sean Parker’s backyard in L.A.
known for your whole life. But there’s a lot of emotional “She had her hair slicked back,” says Cooper, “and she sang
pain, and you can’t really understand what it all means ‘La Vie en Rose,’ and I was just . . . levitating. It shot like a
until ten years has gone by.”
On October 5, Warner Bros. Pictures will release the
fourth iteration of the tragi-musical love story A Star Is
GOING PLATINUM
Born, starring Bradley Cooper and Lady Gaga. The first Gaga’s turn to acting comes after a sustained period of
version came out in 1937, starring Janet Gaynor and Fred- stripping away the costumes, personae, and artifice that once
ric March, followed by Judy Garland and James Mason defined her. Oscar de la Renta dress. Ana Khouri earring.
183
Was she nervous making a
movie? “Of course,” she
says, “but I knew I had it in
me, in my heart”
diamond through my brain. I loved the way she moved, the

sound of her voice.” He called her agent and, the next day,
drove to Malibu. “The second that I saw him,” says Gaga,
“I was like, Have I known you my whole life? It was an instant
connection, instant understanding of one another.” Cooper:
“She came down the stairs and we went out to her patio and
I saw her eyes, and honestly, it clicked and I went, Wow.” He
pretty much offered her the part on the spot. “She said, ‘Are
you hungry?’ and I said, ‘I’m starving,’ and we went into her
kitchen for spaghetti and meatballs.”
Gaga: “Before I knew it, I was making him lunch and we
were talking. And then he said, ‘I want to see if we can sing
this song together.’ ” Cooper: “She was kind of laughing at
me that I would be suggesting this, but I said, ‘The truth is,
it’s only going to work if we can sing together.’ And she said,
‘Well, what song?’ And I said, ‘ “Midnight Special,” ’ this
old folk song.” Gaga: “I printed out the sheet music, and
he had the lyrics on his phone, and I sat down at the piano
and started to play, and then Bradley started to sing and
I stopped: ‘Oh, my God, Bradley, you have a tremendous
voice.’ ” Cooper: “She said, ‘Has anyone ever heard you sing
before?’ and I said no.” Gaga: “He sings from his gut, from
the nectar! I knew instantly: This guy could play a rock star.
And I don’t think there are a lot of people in Hollywood
who can. That was the moment I knew this film could be
something truly special.”
Cooper: “And she said, ‘We should film this.’ So I turned
on my phone and we did the song. It was crazy. It kind of
just worked. And that video is one of the things I showed to
Warner Bros. to get the movie green-lit.”
Weirdly enough, the film was originally to be directed by
Clint Eastwood—at one point, starring Beyoncé—and East-
wood offered Cooper the part of Jackson. “I was 38 then, and
I just knew I couldn’t do it,” says Cooper, now 43. “But then I
did American Sniper with Clint and The Elephant Man for a
year on Broadway and I thought, I’m old enough now.” Pop
stardom seems to befall mostly the very young these days, but
this is a story about grown-ups. “I would often say to Lady
Gaga, ‘This is a movie about what would have happened if
you didn’t make it until you were 31 instead of 21. We talked
a lot about where she started on the Lower East Side, and
she told me about this drag bar where she used to hang, and
I thought, Oh, this is just ripe for the story.”
Indeed, one of the best scenes in the film comes right at the
beginning, when Jack, desperate for a drink, stumbles into a
gay bar on drag night. Ally is the only woman the queens let
REALITY CHECK
“What makes the film successful is that it’s so real,”
Gaga says. “And I’ve lived it, so I can testify to that.”
Chanel dress. Delfina Delettrez earring.
185
HEAD GAMES
“Lady Gaga is so
good,” Bradley
Cooper says, “that if
the world I’d created
wasn’t authentic, it
would stand out in a
second. Everything
had to be raised to
her level.” Chloé top.
Denim x Alexander
Wang jeans. Tom
Ford headband.
perform on their stage, and as she sings “La Vie en Rose,” room he built in his garage, surrounded by guitars and an
Jack falls hard. Gaga says that the chemistry between her old piano, his editor cued up scenes. What struck me im-
and Cooper is so good on film because it’s real. But she also mediately was how intensely visceral the musical sequences
thinks that Cooper “nailed” the complicated voodoo that are. Cooper explained that at Gaga’s insistence, they were
happens when love and fame get intertwined. “They’re both all shot live. “All the music is as real as you can get it,” he
very complex, layered things, with a lot of emotional depth, said to me that day. They shot some of the concert scenes
and he captured that. This is what I think makes the film so at the Stagecoach country-music festival in Indio, Cali-
successful: that it was so real. And I’ve lived it, so I can testify fornia, and more at the Glastonbury Festival in England.
to that.” (Another thing that gives the film its authenticity: “At Stagecoach, four minutes before Willie Nelson went
Cooper cast a few drag queens he knew from Philly, as well as on, we hopped onstage,” says Cooper. “That was real. At
Gaga’s actual dancers, choreographer, and hair and makeup Glastonbury, I got onstage in front of 80,000 people. It
artists, who appear in a few scenes.) was nuts. But Lady Gaga is so good that if the world I’d
Last December, I went to Cooper’s house in Los Angeles created wasn’t authentic, it would stand out in a second.
to watch some early footage, and as we sat in the screening Everything had to be raised to her level.”
186
CORNERING
THE MARKET
It’s worth noting that
long before Gaga had
designs on being a
singer, she longed to
be an actress. Wolford
dress. Bracelets by
Roberto Cavalli and
Alexander McQueen.
the kitchen, a kind of office with a desk, computer, and
two very loud speakers. She plugs in her phone and cues
“I felt like I was lying to the world up a jaunty, mid-tempo piano banger called “Look What
I Found,” and as it begins to play, Gaga dances and sings
because I was feeling so much pain, along, at full volume, about two feet from my face. Suddenly
but nobody knew. That’s why I came I feel a bit like James Corden in a new segment: Kitchen
Karaoke. I cannot resist, and start dancing too. “Our own
out and said that I have PTSD— little discotheque,” says Gaga.
I don’t want to hide” She cues up another song—a huge, soaring, sad ballad
called “Before I Cry,” with a full orchestra. It is the first song
for which Gaga composed the string arrangements—and
conducted the orchestra in the studio—and it was inspired
One bit of history that’s gotten lost in the Gaga saga is by a harrowing scene in the film when Jack has fallen off
that while she started playing piano at four and writing the wagon and picks a fight with Ally while she’s taking a
songs by eleven, she wanted to be an actress before she bath. On the soundtrack, it begins with this bit of dialogue:
wanted to be a singer. When she was twelve, she began Ally: “Why don’t you have another drink and we can just
taking Method-acting classes at the Lee Strasberg Theatre get fucking drunk until we just fucking disappear? Hey!
& Film Institute and later at NYU’s Tisch School of the Do you got those pills in your pocket?”
Arts. “I loved it so much,” she says, “but I was terrible at Jack: “You’re just fuckin’ ugly, that’s all.”
auditioning—I would get too nervous and just couldn’t Ally: “I’m what?”
be myself.” So she decided to make a go of it as a musi- Jack: “You’re just fuckin’ ugly.”
cian—and had a record deal within a year. Was she nervous As the song plays, we stand facing each other in the little
making a movie? “Of course—but I knew I had it in me, in cubicle, and before it’s halfway through, we both have tears
my heart, to give an authentic performance.” in our eyes. She hugs me and, as we head into the kitchen for
The biggest challenge for Lady Gaga was creating a musi- more wine, says, almost to herself, “I love that we’re dancing
cal character that was not like . . . Lady Gaga. “I wanted the and crying. Like, real Italian style.” That’s my natural state,
audience to be immersed in something completely different,” I say: dancing and crying. “Me, too,” she says.
she says. “And it’s almost hard to speak about, because I One of the many things about Lady Gaga that go un-
just sort of became Ally.” For as good as the Garland and derappreciated is that she doesn’t tell us everything. For
Streisand versions are, you do sometimes sort of feel like example, we know very little about her new boyfriend,
you’re watching movies about . . . Garland and Streisand. Christian Carino—other than that he’s a 48-year-old CAA
That being said, there may be no more perfect person to agent—because she doesn’t talk about him. She doesn’t
take up this franchise than Gaga. “It’s so humbling,” she want to talk at all about the new music she’s working on for
says. “Judy Garland is by far my favorite actress of all time. a future album, or the scripts that are suddenly rolling in.
I used to watch her in A Star Is Born, and it’s devastating. She understands more than most that a little bit of mystery
She’s so real, so right there. Her eyes would get glassy, and and magic go a long way in this world of too much. She has
you could just see the passion and the emotion and hear sort of inverse boundaries: She won’t tell you, for example,
the grit in her voice.” Streisand came to the set one day. where she just went on vacation, but she’s totally open about
“It was a magical moment. She really made me feel like having been sexually assaulted when she was a teenager.
she passed the torch.” When I mention Streisand’s voice, Her 2015 song “ Til it Happens to You,” which she wrote
she says, “The singing is beyond, but what is even more with Diane Warren for the sexual-assault documentary The
beyond is how involved she was in everything she did. She Hunting Ground, was nominated for an Academy Award.
was a part of creating that film. That made me feel good, When she performed it at the Oscars in 2016 on a stage full
too, that we approached making this film the right way.” of 50 other assault victims, it eerily presaged the #MeToo
The soundtrack will be released the same day as the mov- movement that unfolded a year later, much to Gaga’s sur-
ie, and because this is a Lady Gaga production, she has had prise. “I feel like I’ve been an advocate but also a shocked
a big hand in it. There were many writers and producers who audience member, watching #MeToo happen,” she says.
worked on different songs, but the brain trust was Gaga and “I’m still in disbelief. And I’ve never come forward and said
Cooper, working closely with the blues-oriented producer who molested me, but I think every person has their own
and songwriter Ben Rice and Lukas Nelson, who’s Willie’s relationship with that kind of trauma.”
son. “She’s a fan of my dad’s, but she’s got a tattoo of David She was still Stefani Germanotta when she was raped
Bowie, and Bowie was my hero as well,” says Nelson. “I at nineteen by a music producer. She told no one. “It took
tend to gravitate toward rockers who were kind and stood years,” she says. “No one else knew. It was almost like I
for change and the right to be who you are—to be a freak tried to erase it from my brain. And when it finally came
and be proud of it. And I think a lot of people have turned out, it was like a big, ugly monster. And you have to face
to Gaga in that realm—as a sort of beacon of hope: I can the monster to heal.” In late 2016, Gaga revealed in a Today
do whatever I want. She invented herself.” interview that she suffers from PTSD because of the assault.
It was Gaga’s idea to thread bits of dialogue through- “For me, with my mental-health issues, half of the battle in
out the record, and there are a few songs that are not in the beginning was, I felt like I was lying to the world because
the movie—“treats,” as she calls them. She asks if I want I was feeling so much pain but nobody knew. So that’s why I
to hear some music, and we head into a tiny vestibule off came out and said that I have PTSD, because I don’t want to
188
hide—any more than I already have to.” When I ask her to to a half-mannequin with a heavy metal harness wrapped
describe how she experiences the symptoms, she says, “I feel around it that resembles a sort of human/reptilian rib cage
stunned. Or stunted. You know that feeling when you’re on and spinal column. It was made by Shaun Leane, a jewelry
a roller coaster and you’re just about to go down the really designer who worked regularly with Alexander McQueen.
steep slope? That fear and the drop in your stomach? My Gaga picks up another piece, a kind of metal orbiting fasci-
diaphragm seizes up. Then I have a hard time breathing, nator, also designed by Leane, that was part of the “Savage
and my whole body goes into a spasm. And I begin to cry. Beauty” exhibition at the Met, and gently sets it on her head.
That’s what it feels like for trauma victims every day, and “I bought it at an auction,” she says, batting her eyelashes.
it’s . . . miserable. I always say that trauma has a brain. And And now she wants to show me something else, and goes in
it works its way into everything that you do.” search of a key. She finds it in the kitchen, and then along
In September 2017, Gaga announced on Twitter that she the way to wherever we’re going I get a quick tour. In her
suffers from extreme nerve pain caused by fibromyalgia, ballroom-size living room there is a grand piano and a giant
a complex and still-misunderstood syndrome she believes modern pink blob sofa, and an even bigger pink rug. “I like
was brought on by the sexual assault and that then became pink,” she says. “It’s a relaxing color.” There’s her Golden
worse over time, exacerbated by the rigors of touring and Globe (for American Horror Story, in 2016) and a framed
the weight of her fame. (Earlier this year, she had to cut photograph of Patti Smith, along with pictures of Elton
her European tour short by ten shows because of it.) In John and David Furnish’s boys, Zachary and Elijah, Gaga’s
the Netflix documentary Gaga: Five Foot Two, which aired godchildren. Resting on the mantel is a framed letter from
that same month, Gaga allowed cameras to document her David Bowie (“Dear Lady, Unfortunately I will not be in
suffering to shed light on the syndrome. “I get so irritated NYC for a few months but many thanks for the cake”).
with people who don’t believe fibromyalgia is real. For me, On one wall is an enormous George Condo painting of a
and I think for many others, it’s really a cyclone of anxiety, woman in a ball gown, her face obscured by smears and
depression, PTSD, trauma, and panic disorder, all of which smudges. “Reminds me of myself,” she says with a wink.
sends the nervous system into overdrive, and then you have “Beautiful but a little bit messy.”
nerve pain as a result. People need to be more compassion- Finally we arrive at the locked door. She turns the key
ate. Chronic pain is no joke. And it’s every day waking up and opens it to reveal . . . a room filled with fashion! Two
not knowing how you’re going to feel.” rooms! “This is mostly Saint Laurent from Hedi Slimane’s
work there,” she says. “I’m excited to see what he’ll be doing
oday, Lady Gaga is the pic- at Céline. Here’s a McQueen cape that was custom-made
T
ture of health: bright-eyed, for me for the ‘Alejandro’ video. And then in here”—we
sun-kissed, fit as a fiddle. “It’s move into yet another chamber, deeper into her fashion
getting better every day,” she closet, racks upon racks of leather and feathers and sequins
says, “because now I have fan- and a lot of black—“this is all Gianni Versace from the
tastic doctors who take care of nineties. I wear some of it, but I mostly collect it to keep
me and are getting me show- and preserve to give to a museum one day. Because I just
ready.” Speaking of shows, she love these designers.” Pause. “There’s my Joanne hat!” That
recently signed a $100 million is the pink fedora she wore in nearly every video and every
contract with MGM Resorts performance from her Joanne album and tour, when she
International to do a Las Vegas began presenting herself as . . . herself, mostly.
residency at a 5,300-seat theater. It will be called Lady Gaga When did all of the crazy-brilliant obfuscating costumes
Enigma, and beginning on December 28 she will perform fall away? “For me, fashion and art and music have always
74 shows spread out over two years—a reasonable pace been a form of armor. I just kept creating more and more
that will allow her to take better care of herself and make fantasies to escape into, new skins to shed. And every time
more movies. “I’ve always hated the stigma around Las I shed a skin, it was like taking a shower when you’re dirty:
Vegas—that it’s where you go when you’re on the last leg of getting rid of, washing off, shedding all of the bad, and
your career,” she says. “Being a Las Vegas girl is an absolute becoming something new.” I wonder aloud where all that
dream for me. It’s really what I’ve always wanted to do.” began. “I just remember feeling so irritated at the thought
As she sits before me on our respective couches—in her that I had to conform to being ‘normal,’ or less of whatever
periwinkle chiffon, dripping in diamonds—Gaga and Vegas I was already born as. And so I took such radical enjoyment
make perfect sense. She has always been a master at swirl- in expressing who I am in the most grandiose of ways.”
ing together the nostalgic with the startlingly modern and She laughs. “It was sort of like a very polite ‘Fuck off.’
coming up with something that feels entirely new. Creating It was never about looking perfect—it was always about
the shows for Lady Gaga Enigma, of course, has brought just being myself. And I think that’s what it’s always been
back together the Haus of Gaga—her team of stylists and about for my fans, too. It was a form of protection, and a
monster-conjurers, including Nicola Formichetti. “We’re secret—like a wink from afar. I’m a monster, and you’re
plowing away, making something brand-new, but still with a monster too.”
the iconography that we’ve already created—and making She locks the door, and as we head back out to the liv-
sure fans leave with the feeling that they went home for a ing room to say goodbye, she picks up a glass vase filled
bit with their community.” with fresh-cut roses from her garden and hands it to me:
Speaking of Gaga iconography! I have somehow failed to “Just a little something,” she says. For all of Lady Gaga’s
notice that for the past couple of hours I’ve been sitting next histrionics and grandiosity and obfuscation and mucking
189
WELCOME TO
THE JUNGLE
“It was never about looking
perfect,” Gaga says of her
wild forays into costume
and art. “It was always
about just being myself.”
Givenchy top. Falke tights.
Jimmy Choo shoes.
ON WITH
THE SHOW
Gaga calls her
upcoming residency
at the Park MGM
in Las Vegas “an
absolute dream.”
Tom Ford leggings.
Eugenia Kim hat.
In this story: hair,
Frederic Aspiras;
makeup, Sarah
Tanno for Marc
Jacobs Beauty.
Details, see In
This Issue.
S E T DES IGN , HAPPY MASS E E . PRO DUC ED BY SUZY KAN G FOR G E PROJECTS.
around with monsters—and despite the fact that she claims look each other in the eyes, if we can keep that contact, that
to have “concrete in her veins”—most people seem to get contract, I think the world will be a better place.”
that she’s all heart. “I am not a brand,” she says. “I have Suddenly we both notice the sound of music wafting in
my unique existence, just as everyone else does, and at the from somewhere, as if someone opened a little girl’s jewelry
end of the day, it’s our humanity that connects us—our box. It’s a Mister Softee truck.
bodies and our biology. That’s what breeds compassion “It’s down by the beach,” she says, “but can you believe
and empathy, and those are the things that I care the most that? The sound travels all the way up here.”
about. Kindness!” She lets out a mordant chuckle. “It can The sound is a little creepy, I say.
drive you mad. Someone very important in my life says to “Or,” she says, “it just sounds like kids having ice cream
me often, ‘You cannot stare at the carnage all day.’ And at the beach.” We both laugh. It reminds me of something
I think . . . you have to stare at the carnage to an extent we talked about earlier: that while Gaga’s music is often
because if not, you’re being ignorant and complacent—to funny—with a wink or a bit of camp—she herself is a
not view injustice and want to be a part of advocating for serious person. This has been a very serious conversation,
others. But. . . .” She pauses for a long time. “Once we just I say. “Yes, it has,” she says. “Isn’t that funny?”
191
CLASH of
Take the custom of the country firmly to the street with grids of wallpaper-size
plaid paired with more of the same. Photographed by Josh Olins.
CHECKS MIX
When in Scotland (here, just beyond
Inverness at the Alladale Wilderness
Reserve), roughing it with tartan is
a way of life. FROM FAR LEFT: Model
Rebecca Leigh wears a Prada coat,
$2,200; select Prada stores. Model
Anok Yai wears a Prada top ($1,060)
and skirt ($2,340); select Prada
stores. Documentarian and writer
Leon McCarron wears a Balenciaga
jacket. Zoologist-adventurer Luca
Bortali wears a Marni coat.
Fashion Editor: Lucinda Chambers.
THE
TARTANS
HAT TRICK
To chase the blues
away, pair a sky-hued
checked coat with a
faux fur–brimmed hat.
Dries Van Noten coat,
$2,060; saksfifthavenue
.com. Sportmax
puffer vest ($675)
and dress ($1,050);
Sportmax, NYC. Lizzie
McQuade hat.
TRAIL BLAZERS
Coordinated mad-for-
plaid looks make for
the best check mates.
On Yai: Calvin Klein
205W39NYC oversize
blazer, coat ($1,900),
skirt ($1,600), and
hood. On Leigh: Calvin
Klein 205W39NYC
jacket ($3,500), skirt
($1,600), and hood. All
at Calvin Klein, NYC.
KNOWING THE ROPES
Who says you can’t
wear trainers with
your Chanel? Leigh in
a Chanel coat, hooded
sweater ($3,200), and
skirt; select Chanel
stores. Lizzie McQuade
hat. Versace sneakers.
Marni bag. Brunello
Cucinelli stole (on bag).
196
TOP FORM
Overcoats needn’t
always have the last
word. Slip on a jacket
for a novel way to layer
up. Yai wears a Dior
blazer, $4,300; Dior
stores. A-Cold-Wall
coat, $890; a-cold-wall
.com. Chloé sneakers.
Loewe rucksack.
IN HER ELEMENT
A drizzly day doesn’t
always call for an
umbrella. Leigh in a
House of Holland coat,
$1,415; net-a-porter
.com. Nike hoodie,
$130; nike.com.
Versace turtleneck,
$475; versace.com.
BEAUTY NOTE
The great outdoors
require an even greater
moisturizer. Olay’s
Total Effects Whip face
cream nourishes and
brightens skin with
a light-as-air finish.
CHECKS AND
BALANCES
For full coverage,
Yai likes those
Balenciagas—both the
boxy plaid overcoat
and second-skin
logo top. Balenciaga
coatdress ($3,250),
turtleneck ($1,790),
and cropped
pants ($1,850);
Balenciaga, Beverly
Hills. Fendi leggings,
$890; fendi.com.
Sandro sneakers.
199
SHOULDER
TO SHOULDER
What do you get when
you fuse the nineteenth-
century penchant for
gigot sleeves and the
1980s craze for swishy
nylon tracksuits? A most
fabulous windcheater.
Colville jacket, $620;
matchesfashion
.com. Fila track jacket
($78) and unitard ($65); fila
.com. Gucci skirt, $2,200;
gucci.com. Calvin Klein
205W39NYC balaclava.
PAW PRINTS
The best accessory with
layers of chevron, plaid, and
lumberjack flannel? (Hint:
It’s four-legged.) On Leigh:
Michael Kors Collection
cape, $3,995; select
Michael Kors stores. Marni
pants, $940; Marni stores.
Jo Gordon shawl. On
Bortali: Rag & Bone shirt.
WALK THIS WAY
Carry the torch with a
pair of opera gloves—
and a gorgeous mosaic
of everything else.
Fendi sweatshirt, skirt
($2,190), and leggings
($890); fendi.com. Paula
Rowan gloves. Maison
Margiela sneakers.
FACE-OFF
When checkerboard
leggings and a gingham
cantaloupe-colored
faux-fur cowboy hat go
head-to-head, everyone’s
a winner. On Leigh: Jil
Sander turtleneck ($1,210)
and leggings ($1,080);
Jil Sander, NYC. Armani
Exchange skirt, $150;
select Armani Exchange
stores. On Yai: Rick Owens
parka; Rick Owens, NYC.
Marc Jacobs dress,
$1,800; Marc Jacobs
stores. On both: Lizzie
PHOTOGRAPHED AT ALLADALE WILDERNESS RESERVE, SCOTLAND. PRODUCED BY ETTY BELLHOUSE FOR BELLHOUSE MARKES. SET DESIGN, MAX BELLHOUSE.
McQuade hat. In this

story: hair, Sam McKnight;
makeup, Sally Branka.
Details, see In This Issue.
Fall’s hard-hitting metallics bring cosmic cool down to
the streets—and translate spaceman shimmer into sporty chic.
Photographed by Jamie Hawkesworth.
BLAST OFF
Find a boot with just the right amount of heel to offer zero-gravity flair. Calvin Klein 205W39NYC boots.
Fashion Editor: Camilla Nickerson.
ROGER THAT
An iridescent metallic
puffer will affirm any
look. Model Amanda
Murphy wears a Maison
Margiela oversize jacket
and trench coat; Maison
Margiela, NYC. Calvin
Klein 205W39NYC
balaclava and boots.
RADIANT
CONSTELLATIONS
A slip dress slathered
in paillettes can be
seen light-years
away—especially
when layered on top
of a supernova of a
turtleneck. Model
Saffron Vadher
wears a Givenchy
dress; Givenchy,
NYC. R13 turtleneck;
r13denim.com.
ONE SMALL STEP
Bring an otherworldly
silver-sequined look
back to reality with
sturdy-chic boots
with some pop and
sizzle of their own.
Off-White c/o Virgil
Abloh top ($2,505)
and skirt ($2,122). Top
at net-a-porter.com.
Skirt at Em Pty Gallery,
NYC. Calvin Klein
205W39NYC boots.
207
HANDS ON
A biceps-grazing glove
with some shine adds
out-of-this-world chic to
the tweed-and-metallic
combination. Giorgio
Armani blazer, $3,295;
Giorgio Armani stores.
Erdem dress; erdem
.com. Calvin Klein
205W39NYC gloves
and boots. Maison
Margiela leg warmers.
STRONG SIGNALS
A leather coat with this
kind of shimmer—and
this kind of smart
accessorizing—can send
shock waves through
a room. Calvin Klein
205W39NYC oversize
vest ($3,200), coat, and
boots; Calvin Klein, NYC.
In this story: hair, Jimmy
Paul; makeup, Dick Page.
PRODUC E D BY SYLVIA FARAGO LTD.
The Warriors
Is Stormy Daniels President Trump’s most formidable adversary?
With her telegenic lawyer, Michael Avenatti, in her corner, she isn’t backing
down. Amy Chozick reports. Photographed by Annie Leibovitz.
SHE & HIM
S E T DES IGN , ANDRE A H UE LS E
Michael Avenatti
and Stormy Daniels,
photographed in New
York. Zac Posen dress.
Tiffany & Co. earrings.
Hair, Garren for R+Co.
Haircare; makeup,
Diane Kendal. Details,
see In This Issue.
Fashion Editor:
Phyllis Posnick.
y the time I knock on the door of For all his cable-TV cockiness, Avenatti seems to admit that
B
Stormy Daniels’s room at the Roger Daniels could outsmart him. (“She’s really fucking smart,”
Smith Hotel, a drab brown-brick he will tell me at least three times.) Daniels clearly trusts
tower in east midtown, she’s been and relies on Avenatti, but she also treats him like a lovable,
holed up in New York for 24 hours, well-meaning stepbrother who forgot to take his Ritalin.
waiting to talk to prosecutors in “You want a cookie?” Daniels calls over to Avenatti, ex-
the criminal investigation into tending the box of pastries his way.
President Trump’s former lawyer “I’m trying to watch my girlish figure,” he replies.
Michael Cohen. Lately, if Daniels She looks at me and rolls her eyes at him.
takes more than a couple days off Daniels digs out a blueberry muffin, and as she picks at
from her highly publicized nation- it she tells me that ever since “all this happened” she hasn’t
wide strip-club tour, people assume been able to really enjoy a meal. The death threats—om-
she is at her home outside Dallas. inous notes mailed to clubs before she arrives; suspicious
“I’d bet by tomorrow afternoon substances hidden in gifts in her dressing rooms—got so
there will be people at my house,” bad that she had to hire three full-time bodyguards. She calls
Daniels tells me as she settles down them her Dragons and pays them with her tips. “We’ve been
in the center of an oversize gray at restaurants when we order food and it’s taken too long or
sofa. I sit across from her, on a fad- somebody was watching and we’ve had to leave—like that.”
ed upholstered armchair. Between Daniels snaps her French-manicured fingers. She throws a
us are a tawny Oriental rug and a look at Avenatti. “That’s why I’m so skinny!”
table set with a pot of coffee and a spread of pastries in a On August 21, as this story was going to press, Cohen
striped Financier Patisserie box. The people she means— reached a plea deal with federal prosecutors in their investi-
paparazzi and men in red trucker hats who want her to stop gation into the $130,000 payment to Daniels and a separate
talking about her alleged affair with the president—began payment to Karen McDougal, both of whom have said they
circling last spring when Daniels decided to take on Trump. In had affairs with Trump. In pleading guilty, Cohen implicated
doing so she became globally known by a single name: Stormy, Trump, telling the court he paid Daniels off “at the direc-
the unlikely, embattled symbol of our tempestuous times. tion of the . . . candidate” and “for the principal purpose of
It is just after 10:00 a.m. on a Tuesday, still early morning influencing the election.”
in the world of adult-film stars and their entourages. Dan- “How ya like me now?!” Daniels tweeted in response. In
iels is barefoot, in black skinny jeans with silver zippers at a statement later that day, she told me, “Michael and I are
the ankles and a purple V-neck T-shirt. With no makeup vindicated, and we look forward to the apologies from the
Daniels, 39, looks much younger than when she appeared people who claimed we were wrong.” Avenatti, who said the
on 60 Minutes last March and told 22 million viewers about plea agreement may allow him to proceed to depose Trump
her dalliance with Trump, about the hush money and the in Daniels’s civil suit, texted me back just after the news
threat to her daughter and the nondisclosure agreement broke: “Trump is in a lot of trouble. His habit of disloyalty
that she says Cohen forced her to sign weeks before the 2016 and stepping on people is about to catch up to him.”
presidential election. In person, she is nothing like that stoic, The violation of campaign-finance laws means Cohen will
on-message woman. She is blunt, foulmouthed, funny. I ask face criminal charges—even potential jail time. As for the
her for more details on her alleged 2006 affair with Trump. president? If he weren’t in office he would almost certainly
“How many details can you really give about two minutes?” be indicted. Trump has denied the affair. He initially told
she says. Two minutes? I ask. “Maybe. I’m being generous.” reporters aboard Air Force One that he had no knowledge
Calling room 811 a suite would be an overstatement, but of any payment to Daniels. But after his lawyer Rudolph
there is a living room with a desk where Daniels’s lawyer, Mi- W. Giuliani admitted on Fox News that Trump had indeed
chael Avenatti, who has parlayed her lawsuit against Trump reimbursed Cohen, the president confirmed as much, insist-
and Cohen into cable-news ubiquity and a potential 2020 ing by tweet that “money from the campaign, or campaign
presidential run, works the phones. Late the night before, he contributions, played no roll [sic] in this transaction.” In
changed locations, from the chic Park Hyatt, where he has response to Cohen’s plea, Giuliani said “there is no allegation
practically lived since taking on Daniels’s case last spring of any wrongdoing against the President in the government’s
(and where the media had begun to gather, knowing Daniels charges against Mr. Cohen.”
was in town), to the less conspicuous and infinitely less chic It is a cruel, if unsurprising, irony that through everything
Roger Smith, with its shabby, red-carpeted lobby and dim that has transpired, Daniels is the one who has been living
recessed lighting. Avenatti is hardly paying attention to us, like a wanted criminal. “We’ve been in a couple car chases,”
focused as he is on his latest clash with the White House, she tells me at our interview. “We’ve had people put notes
this time over the family-separation policy at the Southern under the door, which means they know what hotel I’m in,
border. During the nearly two hours that Daniels and I talk, which means we’ve had to change hotels in the middle of
Avenatti becomes a sort of white-noise outrage machine the night.”
in the background. (“Juan Carlos, we need to find a way She sits cross-legged and clutches a throw pillow under
to make this happen!” and “This is why people trust me!”) one arm. Directly behind her is a window that overlooks an
Avenatti, with his refrigerator-shaped jaw and overcaffein- airshaft. “It’s like you’re on the run,” I observe.
ated demeanor, can come off as Daniels’s macho protector. “Oh, I’m a fugitive,” she agrees. “Do you want to be Thel-
But up close their relationship is warmer and more equitable. ma or Louise, Michael?”
212
“Who’s driving the car?” asks Avenatti, an avowed adren- it—could further threaten the presidency. “So it is not at all
aline junkie. out of the realm of possibility,” says Spaulding, “that this is
“Yeah, who decided to go off the cliff?” Daniels asks him. the thread that pulls the whole thing into public view.”
“That was Thelma,” I interject.
“But was she driving?” Avenatti asks us. People have this idea about porn stars, of what their sex-
“No,” Daniels and I say in unison. fueled lives must be like. But Daniels is a working mom.
“I want to be Louise,” he says. She looks after seven horses, a hobby she dreamed of ever
“Which one of us gets Brad Pitt?” Daniels says. since she was a little girl, begging for quarters to put in the
mechanical pony outside Kmart. She lives in a stone-and-
On the day of our meeting Daniels had been cooperating brick home in Forney, Texas, a conservative rural community
with federal prosecutors for months, handing over documents near Dallas that she chose off the map five years ago when
related to the payment she received, readying herself for a she got tired of Las Vegas and Los Angeles. At the barn
possible grand-jury appearance. But the U.S. Attorney for and on the North Texas horseback-riding circuit, friends
the Southern District of New York unexpectedly called think of Daniels as Hannah Montana, the pretty girl with
off an interview with Daniels after the press got wind of it, the double life. “We joke that among all of us she is by far
according to Avenatti. When I ask Daniels about the abrupt the most boring,” says one of her Texas friends, Kathryn
cancellation, she just lets out a long it-is-what-it-is exhale. Roan. “Nobody thinks of her as Stormy Daniels. We think
Pornography isn’t known as a medium for female empower- of her as a training-level rider. She was very, very incognito
ment, but as a writer, director, producer, and actress, Daniels here in Texas for a very long time.”
has built a career for herself in which she can largely write Daniels says she never really hit it off with other women (“I
her own story. Does she still feel in control of her own fate? get along better with men”), but in North Texas equestrian
“Mostly. No, yeah, for sure, mostly.” circles, she found Roan and a cadre of close girlfriends — her
Daniels argues that her nondisclosure agreement is in- “bad bitches,” she calls them. They work as real estate agents
valid because Trump himself didn’t sign it. She is also suing and in office jobs and drive GMC Denali pickup trucks with
the president and Cohen for shiny platinum rims. Like Dan-
defamation. Ask her about iels, they own guns and mostly
the intricacies of the legal I ask her for more details on identify as Republicans. After
cases, however, and Avenatti her alleged 2006 affair with Giuliani insulted Daniels’s
barges in: “That’s off the fuck- looks (“Stormy Daniels? Pfft!”
ing record!” Does she mind
Trump. “How many details he said in an interview in Tel
that he so often speaks for can you really give about Aviv), one of her Dallas girl-
her? “It sounds exhausting,” two minutes?” Two minutes? friends texted her something
she says. “Michael had hair lewd about Giuliani and a coat
when he started this.”
“Maybe. I’m being generous” hanger that I can’t repeat in the
The charges against Co- pages of Vogue and that, weeks
hen also include bank fraud and tax evasion, but it is the later, still amuses Daniels when she reads it out loud to me.
campaign-finance violation—the charge that Daniels’s civil “They are ten times worse than me—like fucking filthy,”
suit has highlighted—that most directly impacts the White Daniels says. “They know what I do, and they don’t give a
House, says Rebecca Roiphe, a professor of law at New fuck. It’s not like a thing. They’re loyal and fierce.”
York Law School and a former member of the Manhattan As is Keith Munyan, a Los Angeles photographer and one
district attorney’s office who has tried corruption and money- of Daniels’s oldest and closest friends. (They met at a photo
laundering cases. “I suspect the Trump White House is looking shoot for one of her adult films; Daniels calls him and his
at the campaign-finance violation with a lot of concern, and partner, J. D. Barrale, “my gay dads.”) Munyan remembers
it may just be the tip of the iceberg of what touches Trump,” how Trump used to try to get Stormy on the phone all the
Roiphe says. “In a way, it could play out that Stormy Daniels, time after their 2006 encounter. “I’d be shooting and she’d
in trying to save her reputation, pulls Michael Cohen and call me over from the kitchen and say, ‘Look who’s calling,’
Trump down.” and we’d start laughing,” Munyan says. “Donald Trump?
That means Daniels’s individual case—who signed what; Who cared? He was just The Apprentice then.”
who defamed whom—could be a catalyst of historic propor- Munyan and Barrale know that critics see Daniels as a
tions. “The Stormy Daniels episode is one chapter in a long brazen opportunist capitalizing on her fifteen minutes of
volume of potential scandal and corruption,” says Stephen fame. Their response? So what? “Is she just taking that fifteen
Spaulding, chief of strategy at Common Cause, a nonpartisan minutes and running with it? She’s like, ‘Yeah, I gotta work
government watchdog group that filed complaints against here. I have a family to support,’ ” Munyan says. Barrale
Cohen with the Federal Election Commission and the Justice chimes in with fatherly pride: “She got thrown into this,
Department. He points out what many have: that special and she adapted and ran with it. She’s a street fighter. She
counsel Robert S. Mueller III may use the illegal payoffs to will take him on.”
women as leverage to get Cohen to talk. (Cohen’s plea doesn’t Part of what has made Daniels such an effective adver-
require his cooperation with federal prosecutors, but his law- sary to Trump is that she seemingly can’t be humiliated or
yer Lanny Davis told MSNBC that his client is “more than scandalized. She doesn’t have a carefully crafted image or
happy” to tell Mueller “all that he knows.”) And the findings a political base to maintain. Threaten to leak her sex tape?
of Mueller’s Russia probe—the “witch hunt,” as Trump calls “I’ll leak all of them, and you can C O N T I N U E D O N P A G E 2 4 6
213
BEAUTY AND BRAINS
Kloss discovered her
own love for tech after
taking a class at
the Flatiron School.
“I realized how creative
code was,” she says.
Gabriela Hearst dress.
Hair and makeup,
Natalie Chekati.
“DO YOU THINK THEY CAN SEE ME?” says Karlie Kloss in
a whisper that registers somewhere between excitement and
panic. “I just don’t want to ruin the surprise!” The six-foot-
two-inch supermodel is doing her best to hide, crouching
behind one of numerous bookshelves dotted around the light-
filled classroom in Beaver Country Day School. It’s the first
time that Kode with Klossy, her summer camp for teenage
girls interested in tech, has come to the Boston area, and the
fifteen or so students—“Klosstons,” as they’re calling them-
selves—are tak-
ing a five-minute
movement break
from their HTML
tutorial, bopping
along to “Cupid
Cracking
Shuffle,” the popular line-dancing anthem. They have no
idea that the überfamous camp leader is literally in their
midst. Pretty soon the jig is up, though: Someone has spotted
Kloss’s Kelly-green Céline pants peeking through a row of
textbooks. “Karlie’s here!” screams one of the girls at the
top of her lungs. Pandemonium ensues. Kloss leaps to the
front of the class with her hands in the air, raising her voice
above the hullabaloo: “Surprise!”
Computer science doesn’t have a reputation for being
this much fun, especially not among high school girls,
but Kloss is hoping to change that. Over the
course of just four summers, her camp has
grown from an intimate classroom of 20 in
New York to a nationwide program offering
scholarships to 1,000 young women across
25 cities. According to the National Center
the
for Women & Information Technology, women account
for only 18 percent of computer and information-science
graduates and are largely underrepresented in Silicon Valley
as a result, making up about 30 percent of workers in the
tech industry as a whole. Plus, there is troubling evidence
to suggest that the gender gap is only widening: A report
published by the NCWIT in 2016 found that the number
of women in computing has in fact been in steady decline
since the early 1990s, with a quit rate more than double
that of men—41 percent compared with 17 percent. And
that makes initiatives like this more important than ever.
“The gender gap within tech is a persistent problem that
we won’t solve without all of us championing the cause
CODE
When she’s not busy modeling—
or planning her upcoming
wedding—Karlie Kloss is working
on her other passion: helping girls
learn tech. By Chioma Nnadi.
Photographed by Chien-Chi Chang.
and actively working toward more representation,” says “I’d always measured myself against Gisele—to me she
Susan Wojcicki, who since joining YouTube as CEO in 2014 was the pinnacle of modeling success—and that was not
has helped raise the percentage of women working at the productive,” she says. “That’s when I had a breakthrough: I
company from 24 to 30 percent. That sentiment is echoed realized it was time for me to do me, to embrace the things
by Reshma Saujani, a lawyer and the former deputy public that make me who I am.”
advocate for New York City, whose nonprofit organization In her soul-searching, Kloss found her way back to the
Girls Who Code paved the way for initiatives like Kloss’s. classroom. She enrolled in NYU and took a coding course
Since launching in NYC in 2012, Girls Who Code has at the Flatiron School. “I had a major aha moment when I
reached 90,000 students in 50 states with summer-camp realized how creative code was,” she says. Kloss would end
programs and after-school clubs starting in third grade. up taking classes at the tech academy on her days off long
Saujani believes that exposing young women to a broader after the introductory program was over. “I didn’t know
spectrum of female role models will play a key role in clos- who Karlie was at first; I just noticed that she was very tall,”
ing the gap. “This one-dimensional image of what a coder says Flatiron School cofounder Avi Flombaum. “I was
looks like has got to end, and pop culture can help with really impressed that she kept coming back—she could be
that,” says Saujani. “Look at what someone like Shonda doing a million other things. She really took to it.” It was at
Rhimes did for medicine and law. We forget that women Flombaum’s suggestion that Kloss started the scholarship,
made up only 10 percent of lawyers in the 1970s.” and he’s been instrumental in shaping and expanding the
camp’s curriculum.
Kloss may appear an Kloss was an early adopter of Instagram and steadily built
AT FACE VALUE, unlikely poster child for her following to seven and half million. She hopped on the
the women-in-tech move- YouTube train ahead of the game, too—her fashion-and-life-
ment: Supermodels have historically pivoted toward more style channel now boasts close to three-quarters of a million
fashionable endeavors, as designers (Kate Moss for Topshop; subscribers. Her Instagram account is an expertly curated
Gigi Hadid for Tommy Hilfiger) or wellness gurus (Gisele, world in which exotic vacation selfies happily coexist with
Miranda Kerr). That Kloss has beaten a path from the run- Kloss’s professional projects and socially conscious calls to
way to the most nerdy reaches of the internet superhighway action. “Before the dawning of social media, I think the role
makes her something of a unicorn. “Karlie isn’t who most of the model was more to be seen. I’ve always wanted to use
people picture when they hear the words computer nerd, but my voice for pos-
that’s exactly what helps her reach the girls she does,” says itive impact,” she
Melinda Gates, who first met Kloss at a tech conference in says. “Now I can “I’ve always wanted
2016. “She’s proof that tech entrepreneurs don’t need to speak in real time.”
fit any one mold.” That said, Kloss to use my voice
Raised by an artist mother and a doctor father, Kloss had has been markedly for positive impact,”
childhood dreams of becoming a pediatrician. “I always silent on the knot-
identified myself as a girl who was good at math and science,” tier aspects of her Kloss says
she says, an image her sister Kristine, the oldest of the four private life that
Kloss sisters, confirms. “We used to joke that Karlie was the have made head-
nerdy one,” says Kristine, a marketing executive for Marc lines in the last few months. She kept her engagement to
Jacobs Beauty. “Imagine an adorable first-grader having venture capitalist Joshua Kushner quiet for a month before
fun with science experiments; that was Karlie every day. She revealing it on Instagram this past June. (“The proposal
loved learning.” Educating herself in the world of modeling was romantic and sweet. We spent the weekend in upstate
was the bigger challenge, says Kloss. “I always thought, Well, New York, just the two of us,” says Kloss, who has been
I’m not artistic; that doesn’t come easily to me. And it’s funny with Kushner, 33, since she was nineteen, after they were
that I had to learn the language of fashion because of my seated next to each other at a friend’s dinner party.) When
job, but it was hard for me.” Ivanka Trump posted a congratulatory comment on the
Kloss was catapulted into the fashion spotlight a little over social-media announcement, referring to Kloss as her
a decade ago, when she was just fifteen. Navigating the scene “sister,” the tabloid rumor mill was immediately churning.
as a gawky, doe-eyed teenager from suburban St. Louis was Trump converted to Orthodox Judaism before marrying
hardly child’s play, though the most challenging moment Jared Kushner (the family is known to be observant), real
in her career would come later, when she was virtually a estate developer and senior adviser to her father. Had Kloss
household name. “I started taking birth control, and my body done the same? How close were the two women?
became more womanly—hips and thighs appeared,” says The implications of this high-profile union—and her
Kloss, who went from a size 0 to a size 4/6 over the course of by-default connection to the contentious Trump presidency—
a year. “I started losing jobs; I wasn’t getting booked for the are not lost on Kloss. “At the end of the day, I’ve had to make
runway; designers stopped working with me. It felt as if my decisions based on my own moral compass—forget what the
world had been turned upside down.” Though the conver- public says, forget social media,” she says, neither confirming
sation around size and age diversity is rapidly evolving, her nor denying the conversion rumors. “I’ve chosen to be with
frustrations are still all too familiar in the modeling industry, the man I love despite the complications. It’s frustrating,
where the pressure to maintain prepubescent dimensions can to be honest, that the spotlight is always shifted away from
be crushing. For Kloss, it was the earth-shattering jolt that my career toward my relationship. I don’t think the same
would ultimately propel her in an unexpected new direction. happens in conversations with men.”
216
UNDER HER WING
The model, flanked by students at one of her summer coding camps.
Hair and makeup, Amber Perry. Details, see In This Issue.
Still, the couple has been relatively open about their political been on a plane! I hope the next ten years bring as many
leanings. Kushner has been described as a lifelong Democrat, surprises and adventures, and that no matter what I’m
raising hundreds of millions for Oscar, the Obamacare start- doing, I’m happy, healthy, and surrounded by loved ones.
up. He also attended the March for Our Lives gun-control I want to continue to work in fashion, build a thriving
demonstration in Washington, D.C., with Kloss earlier this business, create access to education for young women,
year. “Josh and I share a lot of the same liberal values that and hopefully make an impact in the world along the way.”
guide our lives and the things we stand for,” says Kloss, who She’s taken several of the camp’s alumnae under her wing
Instagrammed about Hillary Clinton—#ImWithHer—during since the beginning, including Tallie Elisha, a soft-spoken
the last election. “We’ve really grown together personally and instructor assistant from New Jersey who’s in town to help
professionally. Josh knows that I’m just a nerdy, curious human the Klosstons and is eager to show me a website that some
being. I think that’s why he loves me. We have each other’s back.” of her classmates made a couple of years ago, called Get
It goes without saying that Kushner was an early supporter Informed, Yo. “It pulls together information from the
of Kloss’s computer-science dreams. He took that first coding internet on the bills that are moving through Congress
class with her, along with one of the couple’s mutual male in real time—we call that scraping,” she explains timidly.
friends. Though she’s loath to admit it, you get the sense “Why don’t you show her the website you made?” suggests
that she outshone them both. Watching Kloss float around Kloss with the affectionate nudge of a big sister.
the summer camp, giving pointers to students who are busy Elisha blushes deeply before pulling up Code2Cure
brainstorming their final project ideas in small groups (there’s on her laptop, the program she created to help connect
a fan site for The Bachelor percolating in one corner, and an pediatric-cancer patients with other children in hospitals. “It
app to match new drivers with secondhand cars in the other), can get really boring and lonely in the hospital when you’re a
makes it clear she’s in her element here. kid, ” says Elisha, seventeen, who was diagnosed with leu-
PRODUCE D BY ANNALORA VON PE NTZ
kemia when she was eleven and spent a good chunk of her
is reluctant to middle school years recovering. Indeed, the camp afforded
THE SUPERMODEL look too deeply her an academic sisterhood when she needed it most. “There
into the crystal is something really powerful about being in a classroom of
ball of her future. “The truth is, I don’t know where I’ll be a girls, of having a network of female connectivity,” says Kloss,
decade from now. Nothing about the last ten years has gone who is hovering by the window, iPhone in hand, awaiting a
exactly to plan, which is part of the beauty of life,” she says. FaceTime call from a classroom of young Klossy scholars
“When I was fifteen growing up in St. Louis, I didn’t in Dallas. “Being able to open the door for them, that really
know anything about fashion or coding—I had never even fills my cup.”
217
I
Ladda Tammy Duckworth owns a
llinois Senator
great pair of legs. They’re painstak-

ingly painted by an artist to match the
skin tone of her arm—right down to
the freckles—and the second toe on
one foot is longer than the first, just
like her own used to be. But Duck-
worth can’t stand them. “When I see
myself wearing those legs in a mirror,
I see loss. But when I see this”—she
gestures toward the steel-and-titanium
prosthesis attached to her thigh above
her right knee—“I see strength. I see a
reminder of where I am now.” Same
thing with her wheelchair. “People
always want me to hide it in pictures.
I say no! I earned this wheelchair. It’s
Tammy Duckworth has become a no different from a medal I wear on my
heroine to working parents. But chest. Why would I hide it?”
She is sitting in the chair, a souped-
heroics from the Illinois senator are up Segway that she received from a
nothing new. By Rebecca Johnson. veterans’ group, in a small office close
Photographed by Annie Leibovitz. to the floor of the U.S. Senate. Looped
over its back is a bag with her breast
pump. On the table in front of her is her
mother
daily schedule prepared by staffers. It is
filled with meetings having to do with
issues in her home state, a few Senate
votes, and then, discreetly tucked in at
four-hour intervals, a series of aster-
isks. Time to pump milk for her baby.
of
There are so many firsts attached
to Tammy Duckworth—she’s the
Senate’s first member to give birth
while in office, its first member born in
the year
FAMILY TIME
Senator Duckworth in her Washington
office with her infant daughter, Maile,
and Abigail, age three. Hair, Michelle
Smith; makeup, Valeska Williams.
Thailand (to an American father and risks going in. When helicopters are took them to Singapore, Cambo-
a Thai mother of Chinese descent), hit, there’s no ejecting to safety. dia, Thailand, and Vietnam. “Being
and, of course, its first female amputee. She and her three crew members Amerasian, post Vietnam War, people
It’s that last distinction that tends to were lucky, in a way. The rocket- just assumed you were the child of a GI
overwhelm all the others. As a wound- propelled grenade that pierced the and a prostitute. I was so lucky my par-
ed veteran with a Purple Heart, she Plexiglas floor of the cockpit near ents were married and I had an Amer-
has introduced or cosponsored bills her feet exploded in a burst of flame, ican passport. I saw kids spat upon,
protecting the rights of veterans—and but it did not cause the helicopter to going through garbage, selling them-
she’s been fearless in confronting the combust. Clinging to consciousness, selves, doing whatever they could to
president over military and foreign Duckworth tried to use her legs to survive because they’d been discarded.”
affairs. Last January, when Presi- land but found the normally respon- When the Duckworth family, including
dent Trump accused the Democrats sive $6 million piece of machinery her little brother, moved to Hawaii,
of holding the military hostage over sluggish. Then she passed out. After her father, who was then in his 50s and
immigration, it was Duckworth who her copilot landed, he took one look could trace his roots all the way back to
took to the Senate floor, declaring in at Duckworth’s blackened face, her the Revolutionary War, found it near-
a now-historic speech, “I will not be slumped-over torso, the blood gushing ly impossible to get a job. To survive,
lectured about what our military needs from her lower body, and assumed she the family went on food stamps, and
by a five-deferment draft dodger.” was dead. Black Hawks travel in pairs, Tammy, then in high school, took a
When I started to ask Duckworth a and a second helicopter had landed series of low-paying jobs to keep the
question about the accident that took nearby, so they needed to move quick- family afloat. At one point, she sold
her legs, she quickly corrected me. “It ly. The crew evacuated the living and flowers from a plastic bucket on the
the wounded and then used precious side of the road, an experience that
moments to retrieve what they thought profoundly shaped her worldview. “I
was Duckworth’s corpse. And that, for never worked as hard as when we were
“How is that baby?” her, has made all the difference. at our poorest,” she says. “So I felt if
“I am no hero,” she says. “The guy we could end up there, anyone could.”
asks Senator who carried me out of there? He’s the One day, a call came to Walter Reed
Dianne Feinstein hero.” It’s been fourteen years since the from Illinois senator Dick Durbin, ask-
attack, but even now, when she talks ing if there were any wounded veterans
as Duckworth rolls about it, there’s a catch in her throat from his state who would like to attend
into an elevator that’s contagious. If it had been Viet- the State of the Union. Duckworth
nam or any other American war, she volunteered. That night Durbin shook
following a vote would have died, but within 20 minutes her hand, gave her his card, and said
on the Senate floor she’d arrived at the combat hospital she should call if she needed anything.
in Baghdad, well within the so-called So she did. Again and again. Not for
golden hour when surgeons can save herself but for other veterans who
a life. A few days after that, she was needed things, like missing pension
wasn’t an accident; those suckers were at Walter Reed in Washington, D.C., payments. Durbin was impressed by
trying to kill me.” Of course! I apol- where a team of doctors worked to her tenacity but also by the way she
ogized, but she told me not to worry. save what they could (there was some carried herself. “When I did the math
It happens all the time. While she was question about whether she would be later on, I realized she’d been injured
sedated at Walter Reed hospital, fight- able to keep her right arm). Her legs only twelve weeks prior,” he recalls. “I
ing for her life, the doctors and nurses were gone, but she felt her feet burn- couldn’t believe what a positive attitude
around her also kept referring to “the ing—and she says she still feels this she had.” A few months later, when
helicopter accident.” But she was sure ghostly sensation every day, as if she Illinois’s longtime congressman Hen-
they’d been attacked. She was the se- is walking on hot desert sand. ry Hyde announced he was retiring,
nior officer onboard that day; if it was Politicians who want to bolster their Durbin asked her to consider running.
an accident, it was her fault. military bona fides often visit Walter She said she needed to talk to her
It wasn’t an accident. On November Reed to have their pictures taken while husband, Bryan Bowlsbey, an infor-
12, 2004, then-36-year-old Captain shaking a vet’s hand. Among soldiers, it mation-technology specialist in the
Tammy Duckworth was flying a Black is jokingly referred to as “the amputee private sector. Bowlsbey met Duck-
Hawk to her base in Iraq, some 50 petting zoo.” With her high cheekbones worth in the ROTC program at George
miles north of Baghdad. The mission and long, jet-black hair, Duckworth Washington University, where she was
had been routine, a grocery run, as would have made an appealing poster studying for an M.A. in international
she later described it, though nothing girl, but she was wary of being used. affairs. As she has told it, he made an
about that time or place was routine. When Secretary of Defense Donald unflattering comment about women
Attacks on the base were so com- Rumsfeld wanted to visit her, she said in the military, she took umbrage, he
mon, its residents had nicknamed it no. She might be military, but she apologized, and they have been togeth-
“Mortaritaville.” Training to become leaned liberal, a result of growing up er ever since. If his wife wanted to run
a helicopter pilot, Duckworth, the a mixed-race child in Southeast Asia, for public office, Bowlsbey would sup-
only woman in her class, knew the where her father’s development work port her. “I remember thinking maybe
220
this could be my new mission,” Duck- They tried naturally, then went to a to make a difference, it’s hard to stay
worth says. “I always wanted to help fertility doctor recommended by the home watching, say, immigrants be-
vets, and this could just be widening VA. She was told the daily X-rays at ing separated from their children,
that field.” When Durbin realized his Walter Reed might have affected her especially if you are the child of an
hand-picked candidate would have to ability to get pregnant. immigrant. So she’s gearing up for
make her announcement with an IV in After eight more years, her doctor fresh battles over immigration, over
her arm, he began to wonder if he had said she was simply too old. It was a Judge Brett Kavanaugh’s nomination
done the right thing. Running would bitter pill for a woman who remains to the Supreme Court (she’ll vote no).
mean resigning from the military while strong enough to compete—as she “So it doesn’t matter if I am tired,” she
she still needed surgery. It was a big did in 2016—in her fourth marathon tells me. “I am going to show up every
risk, but she was in. “Nothing holds on a recumbent bike. Duckworth had day and fight. If that means I have to
her back,” Durbin says. begun looking into adoption when a crawl to get a vote, I am going to do it.”
friend recommended she see a celebrat-
I
n the Hollywood ver- ed fertility doctor in Chicago. Within
sion of Duckworth’s life, eighteen months, she had her first child,
she would have won that Abigail, now three. This spring, she had
first race. She did not. her second child, Maile. It turned out
Jon Carson, who ran her the VA-recommended doctor she had
campaign, remains an ad- been seeing worked at a Catholic facil-
mirer, but managing such ity, which did not sanction fertilizing
a principled candidate embryos outside the body—the tech-
didn’t make his job easy. He would nique that ultimately made it possible
have loved to have a press conference for Duckworth to become pregnant.
with the crew members who were shot “What bugs me to this day,” she says,
down with her, but she wouldn’t hear “is that she never said, ‘You need to
of it. Nor did she play the game of go to a different kind of facility.’ I was
cozying up to donors as well as he educated! I was the director of Illinois
might have liked. “Donors like to Veterans Affairs. I didn’t do my due
feel like they’re getting special inside diligence, so what about those other
information,” he says. “Tammy didn’t families?”
do that. She said the same thing in The arrival of Maile has made
front of the donors as she said to the Duckworth a celebrity in the Senate.
press and the voters. That’s just who “How is that baby?” asks Senator
she is.” He attributes her narrow loss Dianne Feinstein as Duckworth rolls
(2 percent) in part to vicious attacks, into an elevator following a vote on
including a last-minute mailer from the Senate floor. It has also opened her
her opponent with a Photoshopped eyes to the challenges so many mothers
picture of Duckworth giving mon- face, like being forced to breastfeed in
ey away to immigrants, a dig at her a restroom at an airport. Last spring,
support of Senator Ted Kennedy’s Duckworth introduced the Friendly
pro-immigration bill. Six years later, Airports for Mothers Act, to compel TOP GUN
she ran again and won. Four years any airport applying for a grant from Duckworth during her military service.
later, she ran against the Republican the Department of Transportation to
who had won Barack Obama’s old include a lactation area on-site. She In the meantime, there’s dinner to
seat in the Senate and won that race was also responsible for getting the think about. It’s one of the ironies
too. When she took the oath of office, Senate to pass a resolution allowing people tend to overlook about poli-
Durbin says, there wasn’t a dry eye in children under the age of one onto ticians. They have a staff of dozens
the chamber. Including his? “You bet.” the Senate floor. helping to implement their policy vi-
The technical term for a woman who Currently, Abigail is in preschool sions, but at the end of the day, they
gives birth at the age of 50 is “geriatric and Maile is being taken care of by a still have to go home and make dinner.
pregnancy.” “Geriatric!” Duckworth nanny who has set up a crib in Duck- (Her husband could do it, but then,
COU RTESY OF S EN ATO R TAMMY DUC KWORTH
says, laughing. “Not even advanced worth’s office. Duckworth knows she’s she says, they’d be eating tacos every
maternal age!” In the years when most lucky to have such an arrangement, night.) I watch Duckworth and two
women start thinking of having chil- but what she really would have liked of her millennial staffers engage in a
dren, Duckworth was busy climbing was a six-month maternity leave. “I am passionate discussion of . . . couscous.
the ranks in the military, where preg- tired,” she admits when I ask. “I am Does she prefer Israeli or regular?
nancy means a mandatory grounding. overwhelmed. Who isn’t? The average “Whatever tastes good, cooks in five
“If you’re not flying,” she says, “you’re American mom is tired. So many of minutes, and costs $3 for two boxes,”
not competing.” Once her career as us are numb from the trauma of hav- she answers. Pragmatic, economical,
a combat pilot was over, she and her ing a president who acts the way he and hopeful. What more could you
husband decided to begin a family. does.” But when you’re in a position want in a politician?
221
mutiny and
the bounty
With his first fragrance for Maison Margiela,
John Galliano continues to revolutionize
how we see—and smell—this most radical
of houses. By Hamish Bowles.
Photographed by Annie Leibovitz.
O
n a June day chez Maison Mar-
giela in Paris’s edgy Eleventh
Arrondissement, John Galliano
is in the midst of fittings for his
first Artisanal men’s collection
for the house. The women’s
Artisanal collection, based on
the idea of “the memory of a
garment in another garment,”
is in its preliminary toile stag-
es, but in Galliano’s world there is now a powerful cross-
fertilization of ideas between the two. The Artisanal col-
lections, he says, represent “the raw, undiluted essence, the
parfum of the house, which both informs and inspires the
eau de toilette.” Fragrance, not just as an analogy, is very
much on Galliano’s mind this afternoon: After three years of
development, he’s about to unveil Mutiny, his genderless first
signature parfum for the house—another indicator, like the
expansion into menswear, of Galliano’s ever-growing role since
he was appointed Maison Margiela’s creative director in 2014.
In lieu of showing men’s ready-to-wear this fall 2018 season,
Galliano has elected to showcase these more couture-like
pieces. “I got really excited by the changing landscape of
menswear design,” he says, “but I thought, What are you
going to do to even get a look in? You are going to play to
your strengths.” He revived, for instance, the bias-cut suit from
his self-titled fall 1994 collection, which, he said, combined
“the erotic sensuality of the kimono with the fluidity of the
bias.” Those suits were worn at the time by the high-stepping
supermodel Shalom Harlow, and versions were subsequently
snapped up by stylemakers including Lee Radziwill and São
Schlumberger. At Maison Margiela in 2018, Galliano is
showing them on snake-hipped boys with piercings, tattoos,
PERFUME GENIUS
Galliano in the fragrance-crowded
bathroom of his Paris town house.
Sittings Editor: Phyllis Posnick.
and lashings of attitude. “It’s great that such a feminine way Soon after his appointment, Galliano had a revelatory
of dressing is so relevant, so right for today,” he says. meeting with Martin Margiela. “Make it your own,” Mar-
One outfit is made from a beaded 1950s dress, with the giela bade him, and Galliano has done just that, marrying
boys’ slender waists cinched with patent leather corsets—and the poetic anarchy of his own eighties experiments with the
tango-dancer heels on those iconic Tabi boots. “That’s how haute couture know-how that he absorbed first at Givenchy
we redefine what masculine sexuality is today, young man!” and then at Christian Dior from 1996 to 2011—and fusing it
Galliano tells me playfully. all with a keen sense of technology and innovation that has
Galliano himself is redefining masculine sexuality in a brought new relevance to the house in the process.
vintage Aran sweater that seems as though it were knitted
T
for a giant—it falls to his knees like a shift dress and reminds he maison itself serves as a backdrop
me of the first ensemble that he made for me, from his Af- for both the men’s and women’s Arti-
ghanistan Repudiates Western Ideals collection for spring sanal presentations, literally bringing
1985: a pin-striped skirt for men and, as he recalls with pho- one into the world of the craftspeople
tographic precision, “a mustard jumper with a ruffled front who are building the clothes—during
with corks.” It was a lewk that resulted in a lot of name-calling the men’s show, they can be seen
from Parisian cabdrivers. “Always questioning the accepted through the windows wearing the white
norms or conformity,” remembers Galliano of that period. lab coats that all the Margiela employ-
“I don’t know if one was trying to break the rules, but one ees, including Galliano himself, wear.
was just not accepting them—we hadn’t written them, so In eschewing the visual pyrotechnics
why? We were trying to make our own rules. We believed it, that characterized the show as spectacle chez Galliano,
we lived it, and we went out looking like that. That’s youth,” Givenchy, and Dior, the clothes themselves are allowed to
he sighs. “Gay abandon!” shine. The house, built as a convent in the eighteenth centu-
Now able to unleash that imagination once more at Maison ry, was repurposed in the 1920s as a boys’ industrial-design
Margiela, Galliano is in a quietly exultant mood. “Fun, fun, school. The school’s director installed modish Jean-Michel
fun,” he says, contemplating the upcoming collections. “The Frank–esque paneling in his office, but Galliano’s studio is
house is going to be full of energy.” in the opposite end of the building, surrounded by a hive of
At Margiela, Galliano seems energized not only by his activity in the adjoining ateliers. There are scrubbed wooden
cabine of hipster guys but by a new generation of London floorboards and big picture windows, with the studio deco-
designers, including Matty Bovan and Loverboy’s Charles rated in an eclectic style that Galliano first developed under
Jeffrey, who revere his design history and respect his atone- the influence of his eighties muse, Lady Amanda Harlech.
ment and subsequent reinvention after the maelstrom of For Galliano, the space is a constant source of inspiration,
addiction that resulted in his ouster from Dior and his years, like the apartment he shares with Roche, crowded with whim-
to use his own word, as an “outcast.” sical objects of beauty and charm on the piano nobile of an
“I was surprised,” says Galliano quietly. “I’ve kind of been eighteenth-century town house in the Marais; their recently
off the scene a bit.” But stylist Alexis Roche, his partner acquired Normandy presbytery, dating from the eighteenth
and collaborator of 20 years, who is unusually attuned to century and shaded by immemorial yews—or their house
the Zeitgeist, told him, “They love you. They’re obsessed.” in the Auvergne region. That unpretentious country house,
“I think it’s the authenticity—maybe they can feel that?” more or less abandoned during the frenetic Dior years, pro-
Galliano queries. Jeffrey and Bovan, he says, remind him of vided a refuge for Galliano during his recovery, and he now
Leigh Bowery—the eighties designer, performance artist, revels in the simple rural pleasures that it provides (and in
and nightclub guru—and his partner, the artist known as sleuthing treasures to fill it from the local brocantes, including
Trojan. “So much of what we’ve been through is history to a battalion of antique perfume bottles).
them,” he notes. “Suddenly I’ve got visions of Quentin Crisp In his studio, an elaborately braided nineteenth-century
walking down Regent Street, played by John Hurt [in the hussar’s vest hangs from a bookcase heaving with visual
groundbreaking 1975 British television movie The Naked reference material. Church candelabra and Japanese paper
Civil Servant]. How fierce was that? How amazing to be lanterns jostle surfaces crowded with objects of curiosity, and
yourself today, to have the courage to be yourself. Fab, fab, a crystal chandelier lies toppled on the floor with deliberate
fab, fab, fab, fab, fab. Moi, I’m all for it.” artistry. The whimsical flower arrangements are the work
Galliano was drawn to Margiela’s work as a customer, of Ryukubota, which has mixed stems of pink cymbidium
he says, because of its innovation. “I always felt that I was and pale butterfly orchids, a wisteria branch, and a single
buying into an emotion,” he says, “because you could see peach-colored dahlia buried in wands of greenery. Galliano’s
the way things were put together and reworked.” In a timely Brussels griffons, Gypsy and Cocoa, are gamboling underfoot.
serendipity, Margiela’s revolutionary take on deconstruction “Gypsy is more couture,” Galliano explains. “Cocoa is a bit
and repurposing is being celebrated across town in the exhi- more ready-to-wear—she loves a zipper and a Velcro fastener.”
bition “Margiela/Galliera, 1989–2009,” which the famously Meanwhile, Auntie, a Victorian artist’s life-size canvas lay
reclusive designer curated at the Parisian museum of fashion, figure, lies slouched in a wicker Bath chair, naked but for a
deftly asserting his ownership of many of the ideas currently battered black Merry Widow hat, and the air is fragranced
thronging the edgier international runways—from comforter with Cire Trudon’s Ernesto candles and the delicate Japanese
coats (fall 1999) to vintage scarves repurposed as dresses tea that Galliano is serving from a dainty porcelain service. As
(spring 1992) and the solid-color stretch hose enveloping the music segues disquietingly from classical cello to Bono’s
not only the leg but the shoe (spring 2003). gravelly version of “Unchained Melody,” pastel-colored
224
macarons remain untouched: Galliano is more focused on his room, and you know she’s been there.” The piratical Galliano
running and swimming, his weight training, and his Pilates points out that the fragrance is not named for “swashbuckling,
lessons, and emanates an air of health and poise—leavened for Marlon Brando,” but is instead his reaction to watching
with the antic humor that I remember from when we were last year’s Women’s March on Washington on television and
both students at Central Saint Martins. being overwhelmed by its power and the collective spirit of
Propped up on an easel nearby is a late-nineteenth- “standing for what you believe in—an idea,” he says, “that is
century painting of a grave little boy in a dark velvet suit with very close to my heart.”
an elaborate jabot—an evocation, perhaps, of Galliano’s “Millennials want to know what the house stands for before
first fashion memory: the white cassock that he wore as an they buy into it,” says Galliano. “Everything we do here is
altar boy over the school uniform that was his Sunday best. based on truth.” He gets firsthand Generation X, Y, and Z
“It was so refined,” he says. “That was my first feeling of feedback from the Margiela army of dedicated design interns
ceremony—a special occasion. And the incense!” and young assistants, and now from the cast of six muses that
Smell has always been part of his unusually sensuous ap- he has assembled to take the message of Mutiny far beyond
proach to design. “My journey began in Gibraltar,” Galliano the wearer’s pulse points. “Each has a story to tell,” says
told Vogue in 2009. “Even my walk to school would inspire Galliano: intersex model Hanne Gaby Odiele; the multieth-
me—past the souks, smells, herbs, and Mediterranean colors. nic actress Sasha Lane, who has been outspoken on sexual
It was so vivid, so vibrant.” When he moved with his family to identity and mental-health issues; the transgender model
London in 1966 at the age of six, the change of environment Teddy Quinlivan; the astonishingly poised seventeen-year-old
came as a visceral shock—“the idea that there was a whole singer Willow Smith, who draws attention to youth anxiety;
new world out there that smelled of wet chalk.” model and anti-bullying advocate Molly Bair; and feminist
The evocative power of fragrance has lingered in Gallia- rapper Princess Nokia, a vocal exponent of body diversity.
no’s life ever since, so it is no surprise that his first Margiela “They are fantastic spokeswomen,” Galliano says. “I
scent—Mutiny—is a passion project. The cryptic Martin admire their self-expression—and their defiance. The idea
Margiela’s own fragrance “didn’t have a great success,” notes is that together we create a platform so this message can hit
Galliano wryly, “because he didn’t want
it to smell of anything.” Mutiny is not so
self-effacing. Galliano has an acute olfac- The fragrance’s name is a reaction to watching the
tory memory and a bathroom crowded
with the antique perfume bottles that he Women’s March on Washington and being
collects. “Oh, child, I’m so curious—ob-
sessed,” he says. He relishes the “good old overwhelmed by the spirit of “standing for what you
parfumerie” scents of Guerlain, including
Habit Rouge, as well as the intensity of
believe in—an idea that is very close to my heart”
Dalí, “which was heaven: black lips, the
bottle a frosted, gin-bottle green.” The Ritz was the last anyone in the world, whatever wilderness they feel they’re
stockist, “and no one was buying it except me!” Galliano in, and they can connect and realize that they’re not the only
says. He also enjoyed the amber scent developed by the leg- person in the world to have those experiences or feelings—of
endary makeup artist, photographer, and fragrance designer being bullied, or gender assignment.
Serge Lutens, and cherishes his memories of it in Lutens’s “I’ve experienced how challenging it can be to be yourself,”
storied riad in Marrakech. Galliano is nostalgic for the for- adds Galliano, who was bullied as a schoolboy in London,
mer Caron boutique opposite Dior, where fragrances were where he stood out for his effeminate mannerisms and Latin
dispensed from glass samovars, and now relishes Floris, looks. “I developed cunning,” Galliano later recalled of this
where a technician in a white lab coat blends essences like unhappy period. “I would take earlier trains to avoid being
the ingredients in a recipe, including Malmaison, which he beaten up by the boys. Hiding the bruises, hiding the cuts,
remembers being worn by Oscar de la Renta (with whom he going home and not being able to talk about it, because if I
enjoyed a rehabilitative collaboration on a collection in 2013). did I would get another good beating” (from his unforgiving
Mutiny, meanwhile, is powerfully evocative of Morocco, father). At the time Galliano found escape, as he recalls, in
just across the Strait of Gibraltar from Galliano’s childhood “my own world of daydreams.”
home. “Tuberose, oranges kicking in . . . the Atlas Mountains The bottle design, meanwhile, draws on what Galliano has
haze,” he says, dreamily. Galliano claims to have become aware defined as “the genetics of Maison Margiela”: the idea of
of the intense smell of the tuberose on a trip to India, where what he calls “décortiquer” (to peel—after a quarter century
the potent waxy flower buds are strung into intoxicating living in France, Galliano often struggles to find the English
garlands, but concedes that it may have perfumed his days in word for a specific fashion term). He’s applied this “rip to
Gibraltar too. Mutiny was developed by the master perfumer reveal” collage concept to his clothing for the house as well,
Dominique Ropion, the nose behind such cult scents as Thi- while also playing with the tropes of glamour and redefining
erry Mugler’s Alien; Dior’s Dune; Armani’s Acqua di Gioia; what they could mean today—as he has done from his first
Givenchy’s Ysatis and Amarige; Viktor & Rolf’s Flowerbomb; outing for the house with his spring 2015 couture collection,
and Frederic Malle’s Carnal Flower. Ropion deconstructed which Vogue dubbed “a cross-pollination between the closets
the potent tuberose “into its different genetics,” as Galliano of Miss Havisham and a club kid.”
explains, extracting the heart of the flower for the first time. “I can only work when I’m being authentic,” says Galliano
“It’s the memory of the woman,” he continues. “She leaves the firmly. “Creativity is my mutiny.”
225
OFF THE WALL
“Every part is an
opportunity to
heal something
in myself,” says
Hedges. Balenciaga
sweater, jeans, and
shoes. Grooming,
Sonia Lee. Details,
see In This Issue.
Sittings Editor:
Yohana Lebasi.
Boy a seventh-grader at St. Ann’s School, he was cast in a pro-
duction of Nicholas Nickleby as the pitiful Smike, and he
panicked, sure that he was going to ruin the play. But then, he
recalls, “it ended up going amazingly—and all my fears and
insecurities really just helped me play that part. I didn’t need
to be a confident performer to be convincing as a crippled,
abused boy in an orphanage. Everyone thought, Oh—that
kid really looks like he’s in a lot of pain. Which was true.”
A casting director happened to be in the audience, leading
to Hedges’s first real film role, in 2012, in Wes Anderson’s
Moonrise Kingdom. He went on to establish an increasingly
impressive career on-screen,
from Arthur Newman and Kill
the Messenger to Lady Bird
Making his broadway debut in kenneth lonergan’s and Three Billboards Outside
Ebbing, Missouri. But Hedges
the waverly Gallery, Lucas hedges is learning never shook the self-doubt.
to love the spotlight. by adam green. “I felt I was the worst part of
every movie I was in—and it
Photographed by Jim Goldberg. became so painful to live with
that,” he says.
In the fall of 2015 he en-
FOR LUCAS HEDGES, ACTING is a kind of ongoing ed- rolled in the theater program at the University of North
ucation in how to live in the world. Take his performance Carolina School of the Arts. “The teachers really tore me
as a troubled and mordant young man who’s just lost his apart,” Hedges recalls. “There was one in particular who
father in Kenneth Lonergan’s gorgeously melancholy 2016 said, ‘I don’t know how to help you, because it seems to me
film Manchester by the Sea, which Hedges calls “the most like you just might not be a theater actor.’ ” He left after one
formative role of my life.” Any young actor would jump year and the following winter put the proposition to the
at the chance to play one of Lonergan’s flawed, complexly test, making his professional stage debut as a feral British
drawn underdogs. “Every character Kenny writes is really teenager in the Off-Broadway production of Anna Jordan’s
just trying to do the right thing, and there’s something in harrowing drama Yen. With his head shaved for the part,
their lives that’s making it very hard,” he says. But Hedges Hedges gave a ferocious, sensitive performance that earned
also saw it as an opportunity for growth. “I had never expe- him rave reviews—and the trial by fire seems to have lifted
rienced any loss in my life,” explains the 21-year-old actor, the curse. “I felt kind of like a superman leaving Yen—I felt
who has said that during filming he imagined what it would that there was so much I hadn’t explored that now, having
be like to lose his father. “And this was a chance to explore survived it, I didn’t need to be so scared,” he says.
that, because we all have to face it at some point.” Lonergan is having a distinct moment, having sandwiched
Hedges’s willingness to invest himself so personally in the his 2016 Best Original Screenplay Oscar (for Manchester)
role earned him an Oscar nomination and has made him between rapturously received Broadway revivals of his
a star. Now he’s reuniting with Lonergan—and making Off-Broadway hits This Is Our Youth (1996) and Lobby Hero
his Broadway debut—in a revival of The Waverly Gallery, (2001). Like those plays, The Waverly Gallery, which orig-
the playwright’s lacerating comic drama. Opening this inally ran Off-Broadway in 2000, is marked by Lonergan’s
month at the John Golden Theatre under the direction of trademarks: an acute eye for the subtleties of relationships
the protean young Lila Neugebauer (The Wolves; The An- and the complexities of human behavior, a keen ear for
tipodes) in her own Broadway debut, it features a fantastic effortlessly natural dialogue, and tremendous humanity.
cast, including Michael Cera, who starred in the last two The play chronicles the escalating ravages of dementia
revivals of Lonergan’s plays, and the legendary Elaine May, on Gladys Green (May), a gregarious 80-something lawyer,
returning to the stage for almost the first time since she and activist, and gallery owner whose memories and hold on
her equally legendary late comedy partner set the world on the present are growing increasingly fragmented—and the
fire in 1960’s An Evening with Mike Nichols and Elaine May. different ways her lovelorn grandson Daniel (Hedges), her
Hedges plays a 20-something speechwriter trying to cope psychiatrist daughter Ellen (Joan Allen), and her son-in-law
with his once-vibrant grandmother’s mental deterioration. Howard (David Cromer), along with a hapless artist (Cera)
The son of the writer and director Peter Hedges (Pieces of who takes up residence in her gallery, struggle to come to
April; Dan in Real Life) and the poet Susan Bruce, Hedges terms with her swift decline. It is Lonergan’s most person-
PRODUCE D BY P RE ISS C RE ATIV E
grew up in Brooklyn Heights and Cobble Hill immersed in al—or most autobiographical—play to date, based on his
an artistic milieu. He spent his childhood visiting his father’s memories of his own grandmother’s last years.
film sets, watching movies, and going to the theater, though “She was really trying hard to cling to her life, which was
he admits, “I kind of hated the theater—it wasn’t until later inspiring and also very painful to watch,” says Lonergan.
that I grew to love it.” “It’s difficult with loved ones as they age—you keep hoping
From the beginning, performing and a kind of self-doubt they’re the person they used to be, and you keep trying to
that bordered on terror went hand in hand for Hedges. As treat them that way. It’s hard to face C O N T I N U E D O N P A G E 2 4 8
227
E LIZAB ETH CO LOMBA. SHE KE RE G IRL, 2012. WATERCOLOR O N PAPER , 11½ ᥱ X 8 ½ᥱ. COURTESY OF THE ARTIST.
Portrait Elizabeth Colomba’s elaborately
Mode detailed paintings are beautifully

subversive: revisiting black
figures in art history and placing
them center stage.
By Dodie Kazanjian.
A RAINY MORNING IN PARIS in 1863. On the wet cobble- in a few areas—as nannies, servants, and artists’ models.
stone street, a handsome black woman in a colorful head “The woman in the pink dress is Cora Pearl,” Elizabeth
wrap, carrying an umbrella, is looking straight out from the continues, “who became the most famous courtesan in Paris.
canvas. I’m in the studio of Elizabeth Colomba, a French- She would dye her pug’s fur the color of her outfit.”
born, New York–based artist, and this is the painting she’s Elizabeth’s painting Laure (Portrait of a Negresse) will
just finished. Slightly behind the central figure, a horse-drawn appear in a groundbreaking show, “Posing Modernity: The
coach carries a well-dressed white man, holding a bouquet Black Model from Manet and Matisse to Today,” that opens
of flowers. To her left, a pink-gowned young woman and her this month at Columbia University’s Wallach Art Gallery
tiny dog are about to enter a building, and in the background, and travels next spring to Paris’s Musée d’Orsay. Curator
a nanny and two little girls are heading for a park. The black Denise Murrell has been researching the subject for the past
woman’s name is Laure, and she is on her way to the studio six years, turning up material about Laure, including her first
of Édouard Manet, who is using her as the model for the name (but not her last) and where she lived. Manet, whose
maid in Olympia, the landmark painting that shocked Paris description of her in his notebooks is “très belle négresse,”
and announced the arrival of Modern Art. used her in two other paintings, one a solo portrait. “My
Colomba’s painting could have been done in the 1860s. question always was ‘What can be said about Laure; what
She’s a new kind of history painter, an attractive, shy, yet can we surmise about her life?’ ” Murrell says when I reach
highly ambitious artist in her 40s, telling stories about black her by phone. “And that’s what I find so compelling about
women—usually real but sometimes imagined—who lived Elizabeth’s work—it’s exactly what she tries to do. In a very
in earlier eras. Her career to date has been largely under the vivid way, she’s trying to imagine the lived reality of the
radar, but, like Manet’s Laure, she’s on the verge of being models who posed for Manet and Marie-Guillemine Benoist.
discovered. With our increasing interest in racial identity, I found that a new turn, different from the work of other
her current focus on redefining the role of black figures in contemporary artists engaging with historical works of art.”
Western painting history is catching the art world’s attention.
As the maid in Manet’s Olympia, Laure is presenting a large Colomba’s studio is on the fifth floor of a midtown Manhat-
bouquet of flowers sent by a client of the naked courtesan tan building. When I first visited her there last December, she
who lies on a flotilla of white cushions. (These are the flowers was working at her easel on Spring, the last painting in her
we see in the horse-drawn coach.) A great deal is known about Four Seasons series. Six feet high by three feet wide, each one
the courtesan: She is Victorine Meurent, a favorite model for personifies a season in the full-length figure of a sumptuously
Manet and Degas, and an artist herself. (She’s the subject of dressed black woman—in Spring, it’s a twelve-year-old girl
Manet’s Young Lady in 1866 and the nude in his Le Déjeuner named Léa, the daughter of Elizabeth’s older sister, Myriam.
sur l’herbe.) Dissertations and novels have been written about The style is realistic and highly traditional. Because of her
Victorine, but until now, her black counterpart in Olym- mastery of historical techniques and the extreme beauty of
pia—which is actually a double portrait—was anonymous. her work, some people might miss the message at the heart
“I do paintings that are based on real characters, people who of it: Black lives do matter, and always have. Léa, barefoot
are known because they are in famous paintings,” Elizabeth and dressed in a long dress, reaches up with one hand to pick
tells me in her French-accented English. By “known,” she a cluster of roses, her profile silhouetted against turbulent
means recognizable but without names or identities. “I take white clouds. The tonality is gray, or grisaille, because this is
them out of that context and give them a full scene. During the underpainting, in the old-master technique, that Elizabeth
the time when Manet was painting Olympia, I imagined, learned at art school. The color comes later.
Laure must have walked to Manet’s studio, so that’s why you The other three Seasons are against the wall in a small
see her in the street with an umbrella and the beautiful gates and stylishly furnished sitting area. Elizabeth’s mother,
of the Parc Monceau behind her. I give her center stage and Lucianne, who died earlier this year, is Winter; a curator
a lightness of being that I’m not sure she had at the time.” friend, Kalia Brooks Nelson, Ph.D., is Fall; Summer is a
Slavery had finally been abolished in the French Empire in young woman whom Elizabeth stopped on the street to ask
1848, and black women were just starting to find independence if she could photograph her. All four subjects are dressed
LIFE IN COLOR
Colomba’s Shekere Girl, 2012, shows her intricate, traditional technique with a vivid, contemporary spin.
in the elaborate clothes of the French Belle Époque, a beautiful books, with representations of black people in
time when this kind of formal luxury would not have been classical paintings and sculptures,” she says. “I was so sur-
available to most women of color. prised, and I thought, If it made me happy to see people who
Elizabeth’s parents were born in Martinique. In 1971, looked like me in these settings, maybe it would make other
seeking more and better opportunities, they moved with people happy as well. That’s when I knew that this was the
their infant daughter Myriam to Èpinay-sur-Seine, just right path for me to explore.”
outside Paris. Elizabeth was born five years later. Precocious The first painting she did after that was a portrait of
and artistically gifted, she announced at the age of six, “I’m her great-grandmother, whom she had known as a child
going to be Picasso!” For 30 years her parents ran their on family visits to Martinique. It was just the face, with a
own restaurant, which specialized in Caribbean cuisine. traditional, colorful Martiniquaise headdress. Next came
They encouraged her by decorating the restaurant with Seated, a painting of a black woman in profile, positioned
her watercolors. Elizabeth’s mother had taught her how to exactly the same way as Whistler’s Mother. “I needed to
read when she was five, and reading was hugely important represent black people in that classical style, as if they were
in her growing up. “Every night I took a book to bed and part of that history, with the same social background and
read by flashlight,” she says. Her love of storytelling carries social equality.” She was on her way.
over into the paintings she does today. She dates the origin Elizabeth’s thorough grounding in traditional art techniques
of thinking she could be an artist to a Father’s Day project took place at the Estienne School in Paris, followed by a year
at her elementary school when she was eight. “The teacher at the École des Beaux-Arts and by countless hours at the
said, ‘We’re each going to copy a painting as a gift for your Louvre, studying works by Delacroix, Géricault, Ingres, and
father.’ She brought out a book on Impressionist artists. I the Dutch masters—especially Vermeer. After art school, she
saw a van Gogh portrait of a man in yellow, and I was sure supported herself with odd jobs at advertising agencies, and
I could do that—very arrogant! So I did it. It came kind of had a studio in her parents’ home. She and a school friend
easily to me.” At the exhibition, her painting was the focus went to Los Angeles in 1998, mainly to learn English. Her
of considerable adult amazement, and her father proudly friend’s mother was a film director who had worked with the
announced, “My child is a genius. It’s official.” young Leonardo DiCaprio in Total Eclipse, a biopic about
The neighborhood library was her second home. It was the violent relationship between Paul Verlaine and Arthur
there, as a teenager, that she came upon The Image of the Rimbaud. Through that connection, Elizabeth met people
Black in Western Art, two volumes that had been conceived in the film world, and this led her to jobs doing storyboards
and funded by the French-American collectors and art and illustrations for film scripts.
patrons John and Dominique de Menil. “They were two She eventually stayed eight years, living in a one-bedroom
West Hollywood apartment big enough for
her to carve out studio space. She painted
every day and paid the rent with her illus-
E LIZAB ETH CO LOMBA. LAURE (PORTRAIT OF A N EGRESS E) , 2018. OIL O N CAN VAS, 40ᥱ X 40 ᥱ . COU RTESY OF TH E ARTIST.
trative work for movies, including Andrew
Dominik’s The Assassination of Jesse James
by the Coward Robert Ford, and A Single
Man, directed by Tom Ford. There were
few connections between the art and film
worlds then, and her paintings seemed very
far from what was going on in the Los An-
geles galleries. “I was having dinner with
somebody at the Chateau Marmont,”
Elizabeth remembers. “She asked what I
did. I said, ‘I’m a painter.’ And she said,
‘What are you doing in L.A., then?’ That
single sentence was a revelation—and a
turning point.” Elizabeth realized that she
needed to be in New York. In 2007, she
began spending more and more time there.
A stranger in the city, she called on her
Parisian friends for introductions. One, Ha-
rumi Klossowska de Rola, the daughter of
the artist Balthus (they had met through the
actress Julie Delpy—another close friend),
suggested she look up the French eyewear
designer Selima Salaun. Elizabeth stayed
briefly with Selima in her SoHo loft, then
PINK LADIES
Laure (Portrait of a Negresse), 2018, takes
as its subject the maid in Manet’s Olympia.
230
“I needed to
represent black
people in that
classical style, as if
they were part of
that history, with
the same social
background and
social equality”
Elizabeth and I are having lunch at Mai-

son Harlem, around the corner from the
light-filled apartment she bought soon
after she moved to New York. “She sur-
prised all of us by just announcing one day
that she’d done it,” says Long, who became
Elizabeth’s manager last year. (The artist
prefers this arrangement to having a gal-
lery.) She’s never been married and doesn’t
currently have a boyfriend. “I would love
to have someone in my life, but I might be
picky,” she says, laughing. “And it’s a little
NEW BEGINNINGS late to go down the aisle in a white dress,
Colomba with Winter, one of her Four Seasons series, right?” She likes to cook her mother’s boeuf bourguignon
modeled on her late mother. Makeup, Stéphane Marais.
Photographed by Anton Corbijn. Fashion Editor: Phyllis Posnick.
for her friends, mostly artists, at her apartment. On Saturday
mornings, she does kung fu (“I’m awful at it”), and she goes
rented an apartment in Harlem. “I liked the idea of Harlem,” to the gym three or four times a week. But most of the time,
she says, “because Harlem is a Dutch name, right? And my she’s in her studio. In April, she premiered her first film, a
painting is so much influenced by the Dutch masters.” She two-minute short for the Metropolitan Opera on “Cinderella,”
continued her movie work, which paid the bills, and kept starring the South Sudanese model Grace Bol. She finished
her apartment in L.A. “I like to be cautious,” she says, “so I Spring, the last of her Seasons, and all four paintings are
have a backup to a backup to a backup.” In 2011, she finally currently on view, along with period portraits of Drexel and
PAINTIN G: E LIZABE TH COLOMBA. WINT ER, 2017. OIL ON CANVAS, 72 ᥱ X 36 ᥱ . COURTESY OF THE ARTIST.
moved permanently to New York. Rovensky women, in The Elms, a mansion now owned by the
The person who brought her into the New York art world Preservation Society of Newport County in Rhode Island.
was Deborah Willis, Ph.D., the powerhouse African American As if this weren’t enough, she has started making drawings
artist, curator, MacArthur Fellow, chair of the department for a graphic novel based on Stephanie St. Clair, a flamboy-
of Photography & Imaging at NYU’s Tisch School of the ant Martiniquaise who arrived in Harlem around the 1920s
Arts, and mother of the much-admired conceptual artist and became the boss of a highly successful numbers rack-
PORTRAIT: PRO DUC ED BY PATRIC K VAN MAANE N FOR MOXIE PRO DUCTION S.
Hank Willis Thomas. “I had seen a painting by her in a group et—“almost like a Mafia,” she tells me. “She was not afraid
show, of a woman dressed in red,” Willis recalls, “and I im- of anybody, and she had no problem having people killed.
mediately said, I want to meet her.” (The group show was at She fell in love very late in life with an absurd black man who
MoCADA—Museum of Contemporary African Diasporan was anti-Semitic and cheated on her. She tried to kill him
Arts—in Brooklyn. It was the first time Elizabeth’s work was and ended up in jail. But she got out and died very wealthy.”
shown in New York.) They met in 2010. Willis introduced her A graphic novel is another form of storytelling, but, as
to her son, Hank, and to her niece, the curator Kalia Brooks Elizabeth says, “painting is my thing, definitely.” She’s at work
Nelson. Kalia later introduced her to Monique Long, then on a new series—this one on the theme of leisure. There will
an aspiring curator, who later became a curatorial fellow at be black women wearing beautiful gowns in elite settings,
the Studio Museum in Harlem. Long organized a solo show enjoying themselves, not just there to serve or carry in the
of her paintings and drawings at a local gallery in 2016. The flowers. “I’ve started sketching some ideas for an equestrian
New Yorker described them as “opulent portraits of black hunting scene, based on Reynolds or Gainsborough,” she
women [that] redress the erasures of women of color in nine- says. The final painting will be a huge still life with no people,
teenth-century art history . . . lush, ardent, and inspiring.” black or white, spanning five canvases and called A Seat at the
The Studio Museum in Harlem purchased one, and so did the Table. “Dinner is part of leisure—it represents endless hours
Princeton University Art Museum. Helene Winer, co-owner spent feasting on extraordinary food.” Everyone’s invited to
of the blue-chip Chelsea gallery Metro Pictures, bought one sit at this table of earthly delights. “Beauty is democratic,”
for her personal collection. she tells me. “It shouldn’t be a privilege to enjoy beauty.”
231
“OMNE VIVUM EX OVO,”
I notify my dining compan-
ion, scooping the last of a
glorious plate of scrambled
eggs from under her nose.
Rise the brouillade, a prodigious-
ly rich rendition of a soft
French scramble that is lux-
urious in the extreme, has
gained immediate renown.
and
It’s a grand pronouncement What arrives when one orders
(“Every living thing comes it—a downy bed of daffodil
from an egg”), but I’m in yellow on a Frisbee-size plate
the mood for one. I love eggs, with a swirl of herby, buttery
and we are living in an age of snails at its center—would be
ovodolatry, of oeufphilia. It’s called “scrambled” only by a
the Eggolith! These symbols philistine. It costs $22 and is
of creation have, of course, worth every cent.
Shine
been sacred for centuries. The The pungent snails contrib-
Greeks had their Orphic egg, ute considerably to the plea-
the Vedas their Cosmic egg. sure of the brouillade. As does
Enlightenment-era philoso- the ratio of butter to eggs: a
pher Denis Diderot famous- generous 40 grams (about
ly pronounced that all the three tablespoons) per two
world’s theologies could be eggs. Nasr bashfully admits
toppled by an egg! But here that this is about 1:2 by weight.
in America, for a tragic half Are pastured eggs the perfect food? But why the bashfulness?
century, eggs have been cu- Tamar Adler reports on the Fat, as all sentient beings
linarily pedestrian—scram- know, is delicious, and it
bled or fried at breakfast to thrilling ascent of a once-humble has a unique, scientifically
the consistency of cardboard, (and, yes, healthy) ingredient. proven ability to carry flavor.
tasteless yolks blending with Eggs have a unique affinity
bland whites. At last, some- Photographed by Derek Henderson. for fat, which seems singu-
thing new is afoot. larly able to elaborate their
It is not only that eggo- innate subtle richness.
philes stand in line for hours at Eggslut in L.A. And that Recent nutritional research has shown that we must no
New York’s Egg Shop does a brisk business in mezcal longer fear becoming fat from eating fat. I have a July 19
cocktails and dishes like the Warrior One—a poached egg, Atlantic article titled “The Vindication of Cheese, Butter,
masala-spiced lentils, shaved broccoli. Or that the Japanese and Full-Fat Milk” tacked above my desk, beside a Wash-
okonomiyaki—a cabbage omelet that can cure a hangover ington Times article explaining that saturated fats neither
and most variations of malaise—has become ubiquitous. clog arteries nor cause heart disease. Last year, The Lancet
Or that Put an Egg on It is both a zine and a meme. It is that reported an observational study of nearly 135,000 people
eggs are finally being coddled and cosseted, napped with demonstrating that those who ate the least saturated fat had
fresh cream, crowned with caviar, festooned with the freshest higher rates of heart disease and early mortality; those who
offerings from the sea—all in ambitious testament to their ate the most had the fewest strokes.
culinary and cultural inviolability. I celebrate these discoveries at Flora Bar in the Met Breuer,
I first noticed this thrilling ascent late last winter at Fish where, for $32, I’m served an exquisite omelet topped with
& Game, a seasonal restaurant co-owned by Zak Pelaccio trout roe, a lump of hackleback caviar, and a smudge of
a convenient half block from my house in Hudson, New crème fraîche. The eggs themselves—two, mixed with a
York. At one dinner, I ate a deep yellow–yolked, soft-cooked touch of salt and steamed in butter—resemble an almost
egg enthroned in a hollowed-out brioche with cultured paper-thin crepe. It is the sort of dish one imagines a med-
cream, preserved lemon, and hackleback caviar; at another, itation teacher advising you to eat mindfully, and I eat it in
a peekytoe-crab omelet with chile-crab sauce. A month later very small bites, chewing each 150 times. Next time I may
the same omelet—a barely puffy marigold duvet showered order two. Chef Ignacio Mattos tells me that the omelet’s
with tiny leaves of baby celery, cilantro, borage flowers, delicacy is intentional. “The idea was to make it as delicate
and frizzled leeks—arrived with an entire soft-shelled crab and different from heavy and filling egg dishes as it could be.”
astride. There was Italian torrone—made with egg whites, So far the results of my egg inquiry could be distilled as
almonds, and sugar—for dessert. Where else, I wondered, (1) fat, (2) caviar. But what about other basic egg questions?
were eggs being thus glorified? For example: When did we start eating eggs? A long time ago.
It was time for some fieldwork. “’Tis hatched, and shall Ancient Romans ate peafowl eggs. Phoenicians ate ostrich
be so!” I announced, from Shakespeare, entering Frenchette, eggs. In the Faroe Islands off the coast of Iceland, eggs of
Riad Nasr and Lee Hanson’s new Tribeca bistro, where the fulmar—a white seabird—are traditionally collected
by tying oneself by woolen harness to the top of a sheer
HANDLE WITH CARE cliff, descending to narrow ledges, and then being hauled
Pastured eggs are lower in cholesterol and higher in back up by fellow climbers (or an ATV). Chicken eggs are
vitamins than the average supermarket egg. much simpler to get, requiring no C O N T I N U E D O N P A G E 2 4 8
NEW FRONTIER
Sweet paisley prints
and knee-grazing
hemlines are worth
kicking up your heels.
Hadid wears a JW
Anderson shirt ($1,120)
and skirt ($1,180); Opening
Ceremony, NYC. Etro
earrings. Versace belt.
Miron Crosby boots.
Fashion Editor:
Jordan Bickham.
City Slick Skirts and boots, plaids
and patterns, patchwork
and ruffles: Gigi Hadid
shows us how the
West is worn right now.
Photographed by
Paul Wetherell.
CONCRETE PRAIRIE
Glinting silver hardware
and a cropped bolero
silhouette make an
inspired transition from
country to town. Louis
Vuitton jacket, blouse,
skirt, and bag; select
Louis Vuitton stores.
Ariana Boussard-Reifel
earrings. Stetson hat.
A STITCH IN TIME
A translucent shift and
multifaceted skirt lend
breezy daywear intrigue
and exotic allure. Calvin
Klein by Appointment
dress and blanket. Calvin
Klein 205W39NYC skirt
($390), worn under dress,
and boots. All at Calvin
Klein, NYC. Gooseberry
Intimates bra. AGMES
earrings. On former
model and PBR athlete
Bonner Bolton: B Sides
Jeans jacket and jeans.
BEAUTY NOTE
Punch up cheeks with an
apricot flush. Maybelline
New York Fit Me! Blush’s
blendable formula delivers
a warm, subtle glow.
236
UP IN THE AIR
Nostalgia-tinged
patchwork adds the
flair; a fitted leather
jacket keeps the
cool. Ralph Lauren
Collection jacket;
select Ralph Lauren
stores. Isabel Marant
shirt, $1,690; Isabel
Marant, Miami. Dior
skirt; select Dior
stores. Nick Fouquet
hat. Fendi boots.
237
HOLDING PATTERNS
Ruffles, spots, and
stripes balance the
fluid with the fixed. Etro
dress ($3,850) and
bracelets; Etro stores.
Aurélie Bidermann
earrings. Calvin Klein
205W39NYC boots.
PRODUCE D BY P RE ISS C RE ATIV E . SE T DES IG N, TOD D WIG G INS.
238
FAIR AND SQUARE
Long lines add elegance
and ease to a roll-up-
your-sleeves top. Loewe
dress; Saks Fifth Avenue
stores. Marni earrings. On
Bolton: Officine Générale
jacket. B Sides Jeans
shirt. In this story: hair,
Tamara McNaughton;
makeup, Susie Sobol.
Index
1
2
7:58 A . M .
COLLEEN ALLEN
22, is focused on menswear

(sumptuously minimal jackets and
3 repurposed secondhand knits imbued
with the bygone), her own wardrobe
ranges from power plays to sweeping
romance. On any given day, you can 4
ind Allen in conident pantsuits—or a
printed dress that lirts with modesty.
Calvin Klein Jeans dress.
1. URBANEARS PLATTAN 2 BLUETOOTH

HEADPHONES, $99; URBANEARS.COM.
2. SANDRO DRESS, $745; SANDRO, NYC.
3. HAYWARD BAG, $1,650; HAYWARDLUXURY
7 .COM. 4. AGMES EARRINGS, $550: AGMESNYC
.COM. 5. THE GREAT LEVEL, BY STELLA TILLYARD,
$16; AMAZON.COM. 6. AGL BOOT, $495;
AGL.COM. 7. PERFECT MOMENT TRACK JACKET,
PRODUCTS : COURTESY O F BRAN DS/W EBSITES
6
looking good doing it.
5
1
11
8:03 A . M .
RACHEL ROSSIN
As evidenced by recent works (think
warped slivers of Plexiglas printed
with vibrant, naturalistic vignettes)
from this painter, sculptor, coder, and
VR artist, Rossin, 31, is not afraid of
color: “I choose things that feel special
or strange, but never at the expense
of them getting in the way of making
work.” Pyer Moss blazer and pants.
9. VIA SPIGA SLIDE, $195; NORDSTROM.COM. 10. SIAN

EVANS JEWELLERY EARRINGS, $675; SEJEWELLERY
.COM. 11. G-STAR RAW DRESS, $220; G-STAR.COM.
9
5
11:24 A . M .
ZARO BATES
With farms few and far between in New York City,
Bates and her husband launched a 5,000-square-
foot rooftop farm in Staten Island two years ago.
Owning a business means wearing many hats:
Bates, 28, has served as nursery manager, chief
of micro greens, workshop leader, and marketer.
Bode shirt. Levi’s overalls.
1. VINCE CAMUTO TOTE, $298; VINCECAMUTO.COM. 2. BODE

JACKET, $1,554; BODENEWYORK.COM. 3. MODERN SPROUT
WAXED PLANTER LAVENDER FLOWER GARDEN KIT, $14;
MODSPROUT.COM. 4. ACE&JIG OVERALLS, $330; ACEANDJIG
.COM. 5. SALVATORE FERRAGAMO SCARF, $380; SALVATORE
FERRAGAMO STORES. 6. MICHAEL KORS COLLECTION BOOT,
8 $995; SELECT MICHAEL KORS STORES. 7. WATER & BIRD HAT,
$348; WATERANDBIRD.COM . 8. HERBIVORE ROSE HIBISCUS
HYDRATING FACE MIST, $32, HERBIVOREBOTANICALS.COM.
12
2:46 P . M .
ALISON MARIELLA DÉSIR
Though by day she’s a mental-health
counselor, by night Désir, 33, is a running
activist: She’s the founder of Harlem Run
and Run 4 All Women—with the latter
currently supporting a national grassroots
campaign to activate progressive power
during the 2018 midterm elections. Private
12. HERNO PARKA, $625; HERNO, NYC.

13. LNDR SPORTS BRA, $85; LNDR.UK.
14. ROLEX WATCH; ROLEX.COM. 15. TORY
SPORT BAG, $198; TORYSPORT.COM.
13
P RO DUCTS : COURTESY OF BRAN DS/WE BS ITES
13
15
Index 3
1
2
4:54 P . M .
SARAH HOOVER
“I love playing with the
conventions of femininity,”
says the Gagosian Gallery
artist liaison, 32.“Especially
in my male-dominated ield,
where often the opposite is
expected.” It’s a balancing act
she also exercises in her day-
to-day—juggling discerning
art collectors and artists
alike. Dolce & Gabbana dress.
1. A LA VIEILLE RUSSIE NECKLACE; ALVR
.COM. 2. ZIMMERMANN DRESS;
15
6:42 P . M . 7
MEGAN TWOHEY
As an investigative reporter for The New York
Times, Twohey has tackled exploitative doctors,
abandoned adopted children, and, most
famously, Harvey Weinstein. The 41-year-old 8
working mother says the best parts of her job are
“the brave sources who want to bring the truth to
light.” La Ligne sweater. Rag & Bone pants.
6. MAJE SWEATER, $340; MAJE.COM .

7. POMELLATO RINGS; POMELLATO.COM. 8. RAG &
BONE SNEAKER, $395; RAG-BONE.COM.

7:03 P . M .
KIMBERLY DREW
Drew, 28, is the social-media
manager of the Metropolitan
Museum of Art (more colloquially:
@metmuseum). At the Fifth
Avenue institution, she
sometimes documents her look
for her own feed in a bathroom-
mirror selie—“I try to keep it
comfy but chic,” she says of her
septum-ring-and-pigtails-centric
look—to great fanfare. Fendi
dress. Portraits by Sean Thomas.
Fashion Editor: Jorden Bickham.
In this story, makeup, Maki
Ryoke. Hair, Tamara McNaughton.
Produced by 360pm.
9. MARNI SKIRT; MARNI BOUTIQUES.

10. MOUNSER EARRINGS, $175; MOUNSER
.COM. 11. ADEAM TRENCH COAT; NET-A-
PORTER.COM. 12. NEOUS MULE, $585; NEOUS
.CO.UK. 13. GIVENCHY BAG; GIVENCHY, NYC.
14. BRUNELLO CUCINELLI SHIRT; BRUNELLO
13
14
WEBSITES. DETAILS, SEE IN THIS ISSUE.
PRO DUCTS: COURTESY OF BRANDS/
10
12
THE WARRIORS developing an almost preternaturally thick Between her 11:00 p.m. and 2:00 a.m.
CONTINUED FROM PAGE 213 skin—and an acute ability to detect and performances, Daniels, who had changed
have as many as you want for $29.95,” avoid the kind of threats and abuse that into a black halter dress dotted with rhine-
she says. have so often come her way. Ever since she stones, sat on a love seat behind a velvet
But Daniels’s playfulness also masks started stripping, at seventeen, she’s been rope, surrounded by her Dragons, to sign
the psychological and personal toll that aware of her surroundings and able to autographs and pose for photos. A couple
has come from being one of the presi- size up men and judge their intentions. “It of roadies pulled Stormy-branded souve-
dent’s most formidable opponents. After takes a strong person to work in the adult nirs out of a laundry basket that now has
a man tried to take a photo of her seven- business,” Daniels says. “You’re a scientist. its own Instagram handle (@stormysbas-
year-old daughter, Daniels had to pull You get to study people . . . but there’s also ket). A secretary in a bernie sanders is
her out of her elementary school and the feeling of ‘Oh, I’m not going into the magical T-shirt leaned in for a selie.
hire a tutor. They FaceTime regularly VIP room with that guy.’ ” “My fan base is completely diferent,”
but don’t get to see each other often. “If This is something I keep hearing from Daniels tells me later. The middle-aged
I contact her, it makes her sad, so I just Daniels’s friends in the industry—that a white men who used to populate her
kind of have to wait until she wants to certain level of harassment simply comes shows and buy her movies—“now those
talk to me,” she says. with the territory for women in porn. “If guys are just gone.” In their place has
She adds: “She knows that people date Stormy prevails and wins that lawsuit, she sprung the so-called Resistance: women,
and do this and that, and she knows that will absolutely go on with her life, but she gay couples, immigrants, and other assort-
Trump is somebody I hung out with or will always be looking over her shoulder,” ed liberals who despise Trump. “It’s pretty
knew three years before I even met her says Alana Evans, an adult-ilm star who much these packs of women, and they are
dad, so that’s all ine. The problem is they has known Daniels for years. angry,” Daniels says.
keep using the words porn star, and she But Daniels doesn’t see herself as a vic- There’s an upside to this—“Women
doesn’t know what a porn star is, because tim. Not even close. She will admit only tip the best!” Daniels says—but she’s still
she doesn’t know what sex is, and I’m not to a sense of feeling overwhelmed by ev- struggling to get her head around this
quite ready to have that conversation.” erything that’s happened to her—that she nightly outpouring of warmth. “People
Daniels isn’t ashamed of her career; she feels like a glass about to overlow. “Let’s come up and they’re so emotional and
just thinks the use of the label is unfair. “It say you have white milk and chocolate they put so much on me. They’re like,
wouldn’t be ‘librarian Stormy Daniels,’ ” milk and one of them is good emotions ‘You’re going to save the world, you’re a
she says. “It’s only ‘porn star’ because it’s and one of them is bad emotions and you patriot, you’re a hero,’ ” Daniels says. “It’s
sensational.” pour both in, you’re still going to ill up funny. It’s actually easier for me to handle
In late July, I was texting Daniels trying and run over,” she says. the negative stuf. It’s not like I turned on
to meet up again, on her tour bus or at one Twitter today and was called a whore for
of her upcoming “Make America Horny If Daniels had to point to one sign of how the irst time.”
Again” shows, when news broke that her surreal her life has become, it would be Daniels didn’t get into this ight with a
third husband, the heavy-metal drummer the merch. Men used to line up after her political agenda. “I’m not like some big
and adult-ilm actor Glendon Crain, had shows to buy nude photos and DVDs. Hillary supporter,” she tells me. “I’m a
iled for divorce, including requesting sole Now none of that stuff sells. In recent Republican.” There is the gun that she
custody (he’d been taking care of their months, she says, “I’ve sold like ive na- owns, the state she lives in—but she is
daughter while Daniels was on the road). ked pictures. I’m like, What is happening?” quick to say she is socially liberal (“I’m
He also alleged inidelity and iled a peti- I saw this dynamic up close when I irst pro-choice, pro-gay”) and that she was
tion seeking a temporary restraining order met Daniels through a haze of strobe disgusted watching the 2016 campaign,
that the court granted. The couple subse- lights and fog at the Silk Exotic Gentle- when Trump insulted Mexican immi-
quently (and, according to Crain’s lawyer, man’s Club in Milwaukee. It was a Sat- grants, Muslims, women, and so many
amicably) agreed to joint custody. “I’m urday night in June, and Daniels had just others. “I just thought most of it was this
very happy we have put our issues behind inished what has to be the only striptease character. And then I slowly started real-
us and are moving forward with raising that ever opened with a 60 Minutes clip. izing, Wait a minute. . . .”
our beautiful daughter,” Daniels tells me She’d shed a sequined tuxedo jacket, top But she didn’t ask to be a mascot for
(via Avenatti). hat, and virtually everything (save a silver the Resistance. “There are people cry-
The week before Crain filed his thong) on a black lacquered stage. Before ing every night, and I’m like, ‘There’s no
thirteen-page divorce petition, Daniels Daniels spoke out against Trump, the club crying in titty bars!’ ” Which is Daniels
was doing her usual routine at Sirens might have been illed with members of doing what she so often does—deploying
Gentlemen’s Club in Columbus, Ohio, her former fan base—white working-class humor to shift the weight that millions of
when vice detectives from the Colum- men of the kind who helped deliver the enraged Americans have placed on her
bus Police Department arrested and 2016 election to Trump. But before mid- (bare) shoulders. Her face stiffens. She
charged her with three counts of illegal night, Silk Exotic was merely two-thirds fiddles with the throw pillow. “When I
sexual-oriented activity, a misdemean- full. A couple of regulars vaped by vend- started this, I just wanted to save my own
or. On Twitter, Avenatti called the arrest ing machines selling five-hour energy ass,” she tells me, “not everybody else’s.”
“a setup” and “politically motivated.” shots. Another clutched a recent copy
Less than 24 hours later, the charges were of Penthouse, the one with Stormy nude Growing up in Baton Rouge, Louisiana,
dropped and the Columbus Police De- and draped in an American flag. At an Daniels, whose legal name is Stephanie
partment said it would conduct an inter- appearance the night before outside Mad- Cliford, had a running joke that her par-
nal investigation into the arrest. ison, Wisconsin, a liberal college town, the ents, Bill and Sheila Gregory, must have
For most people, such an episode nightclub had been packed with hordes of stolen her from a rich couple at the mall.
would’ve been enough to scare them out students and women who lined up early “They can’t be my real parents,” she re-
of the public eye. But Daniels couldn’t to buy #teamstormy T-shirts. “Madison members thinking. “Like, my mom lives
have thrived in the sex industry without was craaaazy,” Daniels said. in a house that has a boat in the front

yard that hasn’t seen water since 1982, one to have regrets, but when she thinks hotel suite. In Trump, Daniels said, she
and she’s content to just sit there and about Scotlandville she says, “I always saw someone who “had sort of lost touch.
chain-smoke, and I just couldn’t be like wonder what my life would be like if I He’d created this character and then be-
that.” Her dad left when she was four, had parents like the other kids who went came it.” But Trump wasn’t a bad conver-
and Daniels remembers her mother to my high school.” sationalist. He asked if adult-ilm stars get
working two jobs but falling behind on At the Gold Club, Daniels found the royalties and residuals. Was there a union?
bills. She’ll never forget the August in maternal warmth she’d long been miss- He was shocked when Daniels told him
Baton Rouge when the electricity was ing. “I learned all my early life skills from she and her cohort didn’t get any of the
cut of, and even today when one of her the strippers at that irst club I worked,” beneits aforded to mainstream Holly-
roadies tears open a bag of Cool Ranch she says. From the start, Daniels stood wood actors. “Businessmen like to talk
Doritos on the tour bus, the scent viscer- out from the other dancers. She was driv- about business,” Daniels says. “The ques-
ally takes her back to a childhood fueled en. She worked six days a week. She’d ap- tions were good.” When she came out of
by junk food. “Hi-C, the punch. And pear when the club opened, at 3:00 p.m., the bathroom, “he was in his underwear
Vienna Sausage on saltines—that was an and stay until it closed, at 2:00 a.m. “She and his shirt and he was like, ‘Heeey . . . ’
actual meal in my house,” she says. Dan- just carried herself and had this aura of and I was like. . . .” Another roll of her
iels is still fuming about a Dallas Morning being bigger than everyone,” Chuck Roll- blue eyes. “It was just normal-people sex.”
News story in which Sheila Gregory told ing, who managed the Gold Club at the Daniels goes into the bedroom to get
a reporter she was hurt by her daughter time, told me. a manila envelope full of cash and hands
and that she would vote for Trump “four Then, on July 9, 1999—Daniels re- it to one of her roadies (“This looks like
more times” if she could. Did Daniels members the exact day—she finally a drug deal, but it’s not,” she assures me).
talk to her mom after the story ran? “I earned enough to get breast implants. He heads downstairs, where her team is
haven’t talked to my mom in over ten The surgery led to skyrocketing tips and loading her luggage onto an unmarked
years,” she says, “and I haven’t talked to inroads into the adult-film industry. black tour van parked outside the Roger
my dad in 22 years.” I ask her if there (Daniels told me that she now regrets her Smith. They have an eleven-hour drive
was abuse in her house—as has been the 36DDs. “At the time, that was what was ahead so Daniels can get back onstage for
case for so many women who get into the needed. Now it’s more of a natural look,” two shows at clubs in Indianapolis and
sex industry. “Not abusive,” Daniels says she says.) Evansville, Indiana. In the early hours
about her childhood. “It was neglectful.” When Donald Trump met Daniels, in on the tour bus one recent night in some
(Gregory told the Dallas Morning News 2006, she’d achieved a level of success town or another after a performance at
she often worked two jobs “to pay for almost unheard-of in the adult-film in- one club or another (“They all kinda blur
whatever Daniels wanted.”) dustry. Porn isn’t something polite society together,” Daniels says), Travis, one of
Daniels attended Scotlandville Mag- talks about, but nudge anyone who admits her Dragons, summed up the frenzy over
net High School, then an engineering- to watching, and they’ll tell you a Stormy Stormy Daniels this way: “People just
focused college-preparatory school. Daniels ilm is the gold standard. “I don’t need hope and you’re giving them hope,
Daniels was one of the few students who know how much porn you watched in the but you’re real, so there’s something about
didn’t come from a private school and nineties,” Kelli Roberts, a writer and pro- you that everybody can identify with.”
a middle- to upper-middle-class back- ducer in the adult-ilm industry, asks me. Daniels doesn’t see herself this way . . .
ground. After school, Daniels would go (Not much! I say.) “Well, it was bad. The at least not yet, not while the legal case
to McDonald’s, where her best friend loors were dirty and gross. But Stormy is still unfolding and history hasn’t yet
worked, and would hang out until clos- would rent a mansion for the day.” Her judged where she—or Trump—will stand.
ing to get free food. In 1997, as a senior sets were clean and safe. “She’d bring bot- “I’m just the lesser of two evils,” she says.
determined to move away from home, tled water and doughnuts to make the girls “Trump or Stormy? Which one am I gon-
Daniels got a job dancing at the Gold feel comfortable.” na pick? Well, if I have to pick one, she’s
Club. She bleached her hair and reinvent- Daniels even tiptoed into the main- got better hair.”
ed herself as Stormy Daniels—named stream, with cameos in The 40-Year-Old Our interview is almost over, but I
after Mötley Crüe bassist Nikki Sixx’s Virgin and a 2007 Maroon 5 video. She have a nagging question left to ask. She’s
daughter Storm and the whiskey Jack says she’d always had an interest in poli- always insisted the sex was consensu-
Daniels. Daniels laughs because at the tics, loosely basing her most famous adult al and that her story has nothing to do
time, she’d been a relatively unpopular ilm, the irreverent, slapstick title Opera- with the #MeToo movement. But ever
teenager who’d had to pay a guy to take tion: Desert Stormy, on the irst Gulf War. since I watched Daniels tell Anderson
her to prom. She aced her ACT and says And in 2009, Daniels even explored a run Cooper that she felt a sense of obligation
she got full scholarships to Mississip- for the U.S. Senate to replace Republican to Trump (“I had it coming for making
pi State and Texas A&M. “I still have David Vitter after he was connected to a a bad decision for going to someone’s
the letters,” Daniels boasts. But as her Washington, D.C., prostitution ring. Her room alone,” she said), I’ve wondered
Scotlandville peers set their sights on slogan: “Screwing People Honestly.” why she didn’t just leave. Did Trump do
becoming doctors and lawyers and engi- something that made her feel like she had
neers, college and an out-of-state move Daniels’s alleged afair with Trump—and to have sex with him? Daniels is emphat-
were not in the realm of possibility for even the payoff—wasn’t a secret in her ic. “No, nothing,” she says. “Not once
her family. She didn’t even tell her best circles. “We made fun of her because she did I ever feel like I was in any sort of
high school friend (who spoke to me on took so little money,” says Roberts, who’d physical danger. I’m sure if I would’ve
the condition of anonymity) that she was known for years about the weekend Dan- taken off running, he wouldn’t have giv-
stripping. “She said when I saw her last iels met Trump at a celebrity golf tourna- en chase. And even if I had, there’s no
month that she didn’t tell me because she ment in Lake Tahoe. Daniels told me it way he could’ve caught me.” Avenatti
didn’t want to disappoint me,” Daniels’s was “morbid curiosity”—a continuation laughs in the background at this. Then
high school friend says. “I have such a of her penchant for strip-club anthropol- Daniels says, “He’s even less likely to
tender heart for Stormy.” Daniels isn’t ogy—that prompted her to go to Trump’s catch me now.”
247
GOLDEN BOY for gay-conversion therapy, which he re- just-simmering water with a little vinegar
CONTINUED FROM PAGE 227 jects as he comes to peace with who he is. in it, check for doneness by poking it with
up to what’s essentially an insoluble “I wanted to learn from his journey,” a slotted spoon. Are eggs good for you?
problem.” Hedges says. “Every part is an opportunity The answer is: It depends. For millennia,
Lonergan renders this problem with to heal something in myself—if it isn’t, it’s eggs were laid by chickens that pecked
an unwavering gaze and no false senti- not worth it.” and foraged. Then, beginning around the
mentality. “There’s no beautiful, com- middle of the last century, chickens were
forting Forrest Gump moment where RISE AND SHINE conined to battery cages and bred to lay
she peacefully smiles and says, ‘It’s my CONTINUED FROM PAGE 233 twice as many eggs as they used to. This
time,’ ” he says. “There are so many senti- harnesses or belay equipment, and have arrangement yielded worse eggs—not only
mentalizations of the most difficult parts likely been part of the human diet since tasteless but high in cholesterol and lower
of life in movies and TV and theater that about 1400 b.c., if not earlier. in vitamins.
I think it makes people feel as if they’re Do fresh eggs have to be refrigerated? But the eggs being served at French-
the only ones experiencing this the way Only if they have been washed! This rids ette, Flora Bar, and other portents of the
that they are, and the truth is they’re not.” them of feathers and less-mentionables but Age of Egg are pastured eggs: eggs from
As he gets ready to take the stage in also of a protective coating that keeps them chickens that still forage and peck and lay
The Waverly Gallery, Hedges continues safe and sound and bacterially immune less frequently. Such eggs, which are reli-
to lean into his newfound pleasure in his on the countertop. How long do eggs last? ably for sale at farmers’ markets—and at
craft with a bushel of new films, includ- Three to ive weeks—or a year, frozen (!). supermarkets; look for Vital Farms—are
ing Jonah Hill’s upcoming directorial de- How do you boil an egg? It is my opinion very healthy, low in cholesterol, high in
but, Mid90s, and the recently completed that one should not boil it: Put eggs into vitamins A and E and carotene, with triple
Waves. Next month, he hits the screen in a pot of water, bring the water to a boil, the omega-3s of the average supermarket
Boy Erased, playing opposite Joel Edger- turn of the heat, and leave the pot, cov- egg, and the exact dietarily recommended
ton and Nicole Kidman as a young man ered, for ive minutes. How do you poach an ratio of omega-3s to omega-6s. The fi-
who comes out to his parents and is sent egg? Crack it into a ramekin, drop it into nal variable to consider is the breed of the
In This Issue dress ($3,050), tulle dress

($1,200), and sneakers
(price upon request);
select Prada boutiques.
American Apparel socks,
Apparel leggings, $38;
americanapparel.com.
Hat, price upon request;
lizziemcquade.com.
Eastpak belt bag, $27;
plaid poncho, $65;
cheapmonday.com. Gloves,
$377; paularowan.com.
Sneakers, $1,090; Maison
Margiela, NYC. 203: On
Cover look: 62: Dress, 184–185: Dress, $12,550; $8; americanapparel eastpak.com. Sneakers, Leigh: Hat, price upon
$2,995; Neiman Marcus select Chanel boutiques. .com. Paula Rowan gloves, $995; versace.com. request; lizziemcquade
stores. Earrings, price Earring, $3,465; Dover $377; paularowan.com. On Bag, $1,850; select .com. Sportmax belt bag,
upon request; anakhouri Street Market New York, McCarron: Jacket, $2,690; Marni boutiques. Stole, Sportmax, NYC. Maison
.com. Manicure, Miho NYC. 186: Top, $1,995; Balenciaga, NYC. Gap shirt, $2,295; Brunello Margiela bag (price upon
Okawara. Tailor, Susie Chloé boutiques. Jeans, $60; gap.com. Lochcarron Cucinelli, NYC. 197: request) and sneakers
Kourinian. V Life: 104: $265; alexanderwang of Scotland kilt ($732) and Adidas track jacket, $75; (price upon request);
Dress, $2,690; Balenciaga, .com. Leather headband, kilt socks ($24); lochcarron adidas.com. Champion Maison Margiela, NYC.
NYC. Shoes, $750; select $390; select Tom Ford .co.uk. On Bortali: Coat, Europe pants, $100; On Yai: Parka, $9,720;
Miu Miu stores. 128: stores. 187: Dress, $215; $2,180; Marni boutiques. championstore.com. Rick Owens, NYC. Hat,
Made-to-order crocodile- wolfordshop.com. Roberto Patagonia jacket, $399; A-Cold-Wall hood, $179; price upon request;
skin mini Peekaboo bag Cavalli metal bangle, price patagonia.com. Gap a-cold-wall.com. Charles lizziemcquade.com. Tory
with diamonds, price upon upon request; Roberto shirt, $60; gap.com. Jeffrey LOVERBOY snood, Sport tote, $248; torysport
request; (646) 952-8399. Cavalli, NYC. Alexander 194: Tory Sport pants, price upon request; .com. Maison Margiela
138: Background: Hannah McQueen antique silver $178; torysport.com. charlesjeffrey.net. sneakers, $895; price upon
Argyle/Getty Images; bracelet, $1,920 for three; Hat, price upon request; Sneakers, $730; request; Maison Margiela,
Povareshka/Getty Images; Alexander McQueen, lizziemcquade.com. Chloé, NYC. Rucksack, NYC. JW Anderson
Tanya Morozz/Getty NYC. 190: Top, $3,585; Philipp Plein backpack, $5,290; loewe.com. backpack, $1,480;
Images; Marjeta Sustarsic/ Saks Fifth Avenue stores. $895; Philipp Plein, 198: American j-w-anderson.com.
EyeEm/Getty Images. Tights, $28; Joovay, NYC. Jo Gordon shawl, Apparel hoodie, $46;
168: Manicure, Dominique Rhinebeck, NY. Shoes, $430; jogordon.com. americanapparel SILVER
D’Angelo. 172: Trench $650; jimmychoo.com. Eastpak duffel bag, $100; .com. 199: Adidas LANDINGS
coat, $1,800; net-a-porter 191: Leggings, $560; eastpak.com. 195: On Yai: by Stella McCartney 204: Boots, $2,400;
.com. Dress ($5,380) and tomford.com. Hat, $275; Oversize blazer ($6,900), backpack, $160; adidas Calvin Klein, NYC. 205:
sneakers ($645). Dress eugeniakim.com. In this turtleneck ($290), and .com. Sneakers, $385; Puffer jacket ($10,365)
at Stella McCartney, Los story: Manicure, Miho hood ($2,200); Calvin sandro-paris.com. 200: and trench coat ($7,775);
Angeles. Sneakers at Elyse Okawara. Tailor, Susie Klein, NYC. On Leigh: Balaclava, $290; Calvin Maison Margiela, NYC.
Walker, Paciic Palisades, Kourinian. Coat ($1,900), turtleneck Klein, NYC. 201: On Leigh: Balaclava ($290) and
CA. Marni earrings, $530; ($290), and hood Versace jacket, $950; boots ($2,800); Calvin
Marni boutiques. Spinelli CLASH OF THE ($2,200); Calvin Klein, select Versace stores. Klein, NYC. 206: Dress,
Kilcollin ring, $3,000; TARTANS NYC. On both: American Shawl, $430; jogordon similar styles at Givenchy,
spinellikilcollin.com. 192–193: On Leigh: Prada Apparel socks, $8; .com. Adidas Originals by NYC. 207: Boots, $2,800;
sweater ($1,110), tulle americanapparel Alexander Wang sneakers, Calvin Klein, NYC. 208:
BOSS LADY dress ($1,060), tweed skirt .com. Swear sneakers, $250; alexanderwang Blazer; similar styles at
181: Coat, $5,320; ($1,700), and sneakers $365; swear-london.com. .com. On Bortali: Shirt, Giorgio Armani stores.
Givenchy, NYC. 182: (price upon request); 196: Coat ($7,400) and $225; similar styles at rag- Dress, price upon request.
Dress, $4,990; Oscar select Prada boutiques. skirt ($5,500); select bone.com. K-Way x Kappa Gloves ($990) and boots
de la Renta boutiques. American Apparel socks, Chanel boutiques. Nike jumpsuit, $220; selfridges ($1,800); Calvin Klein, NYC.
Earrings, price upon $8; americanapparel running jacket, $100; .co.uk. 202: Sweatshirt, Leg warmers, price upon
request; anakhouri.com. .com. On Yai: Prada loral nike.com. American $7,300. Cheap Monday request; Maison Margiela,

laying hen. Chef Dan Barber, of Blue Hill pasture. The birds are clean and happy. into eggs that are warm enough that they
at Stone Barns, tells me that older-breed Life is good. won’t congeal the fat as it hits. That should
chickens both are better at foraging and Bogdanffy sends me home with two emulsify it evenly and provide each droplet
lay fewer eggs, which are richer and more dozen eggs in a rainbow array of hues with maximal eggsulation against pool-
concentrated. “There’s a Venn diagram and sizes. They are not only handsome ing together.” I read this carefully several
waiting to be created where the breed and but deep golden and creamy of yolk, with times, then close my computer.
diet meet for the perfect egg,” Dan tells me. whites that cohere with admirable robust- I direct my attention to my remain-
The perfect egg! I must find it. On a ness when cracked into a waiting pan. ing eggs and decide just to make them
sweltering morning, I take a short drive I decide that an imitation of Riad Nasr as I like them: boiled, halved, salted, and
to Red Hook, New York, and arrive at and Lee Hanson’s brouillade is the way to lightly adorned with something salty and
Yellow Bell, the Platonic ideal of a chicken go. They add cream, which I don’t have, rich. I happen to have the dried, salted
farm. The barns are deep red. Fields full and I’d forgotten to ask them what size fish roe bottarga on hand, and a single
of clover, wood sorrel, alfalfa, and grass pan. But I watch a video of the actor Ian anchovy dug from a special jar smuggled
undulate in the dappled light. Owner and McKellen cooking “the best scrambled to me by Ligurian friends last spring. I
farmer Katie Bogdanfy greets me in jeans, eggs in the world” in a saucepan at the mix a bit of fresh summer garlic, pound-
boots, and bright-red lipstick, impressively Chateau Marmont, and copy him. Things ed to a paste with the end of my mayon-
resilient under the day’s substantial heat. go swimmingly until I’m sitting down to naise. I choose three lovely eggs: one blue,
“Delawares are particularly good forag- eat. The butter, which makes up a third one deep brown, and one creamy Dela-
ers,” she tells me. “They lay a beautiful of the content of the bowl, begins to seep ware egg, and I manage to boil, crack,
cream-colored egg.” She introduces me unpleasantly from the eggs. I write Harold and peel them without mishaps. I halve
to Barred Rocks, Ameraucanas, Cuckoo McGee, an expert in egg-fat science. “The each, sprinkle their yolks with laky salt,
Marrans, Golden Comets, Whiting True butter seepage probably has to do with and bestow each with its own garnish.
Blues. I clamber into their coops, which how you incorporated it into the eggs. I The perfect egg needs nothing more, it
smell fresh and grassy and are moved ev- think the best way to ensure against that turns out, than careful attention. The rest
ery few days by tractor to a new area of would be to melt the butter and whisk it it can do on its own.
NYC. 209: Coat ($5,500) $2,390; gucci.com. Belt, Ariana Boussard-Reifel Marteau Vintage ring, $295; privatepolicyny.com.
and boots ($2,400). $490; select Versace cuf, $1,280; net-a-porter marteau.co. On Bolton: Under Armour shorts
stores. Boots, $2,750; .com. On Bolton: Jacket Jacket, $1,250; Bergdorf ($45) and sneakers
THE WARRIORS mironcrosby.com. ($175) and jeans ($125); Goodman, NYC. Jeans, ($140); ua.com.
210–211: Dress, $2,790; 235: Jacket (price upon bsidesjeans.com. $125; bsidesjeans.com. 244–245: 1. Necklace,
Neiman Marcus stores. request), blouse (price 237: Jacket, $5,990. In this story: Manicure, $18,500. 2. Dress, $2,350.
Tifany & Co. earrings, upon request), skirt Skirt, price upon request. Dawn Sterling. Tailor, Leah 7. Rings, $2,360–$3,510.
$138,000; tifany.com. (price upon request), David Yurman ring, Huntsinger. 9. Skirt, $2,310. 11. Trench
In this story: Manicure, bolo tie ($1,105), and bag $750; davidyurman coat, $2,100. 13. Bag,
Megumi Yamamoto. Tailor, ($4,800); select Louis .com. Marteau ring, INDEX $2,590. 14. Shirt with
Cha Cha Zutic. Vuitton stores. Earrings, $195; marteau.co. 240: On Allen: Calvin obi buckle belt, $2,695.
$545; net-a-porter.com. Bow&Arrow ring, $120; Klein Jeans dress ($168) On Hoover: Dolce &
CRACKING THE CODE Hat, $229; hatcountry bowandarrownyc.com. and turtleneck ($80); Gabbana dress, $8,595;
214–215: Dress, $1,995; .com. 236: Dress (price Hat, $1,525; nickfouquet calvinklein.com. Balenciaga select Dolce & Gabbana
similar styles at upon request) and blanket .com. Boots, $1,490; bag, $2,490; Balenciaga, boutiques. Of Rare
gabrielahearst.com. (price upon request). fendi.com. 238: Dress, NYC. Charlotte Chesnais Origin earrings, $2,100;
Boots, $1,650. Bra, $55; similar styles at Etro earrings, $490–$630; ofrareorigin.com. On
THAN THE AUTHORIZED STORE, THE BUYER TAKES A RISK AND SHOULD USE CAUTION WHEN DOING SO.
GOLDEN BOY gooseberryintimates boutiques. Bracelets, charlottechesnais.fr. Twohey: La Ligne sweater,

.com. Earrings, $690; $648–$999. Aurélie Dr. Martens boots, $140; $275; lalignenyc.com.
MEN TION E D IN ITS PAGES, W E CAN NOT GUARAN TE E THE AUTH EN TIC ITY O F ME RCH AND ISE SOL D
226: Turtleneck ($1,050),

BY DISCOUN TERS. AS IS ALWAYS THE CAS E IN PU RCH AS ING AN ITEM FRO M ANY W HE RE OTH ER
jeans ($850), and shoes agmesnyc.com. Marni Bidermann earrings drmartens.com. Rag & Bone leather pants,
A WOR D ABOUT DI SCOUN TERS WH ILE VOGU E THO ROUGHLY RESE ARCH ES TH E COMPAN IES
($1,095); Balenciaga, NYC. bracelet, $680; Marni ($420) and ring ($480); 242–243: 14. Watch, $1,095; rag-bone.com.
In this story: Tailor, boutiques. Alexander Aurélie Bidermann, NYC. $36,750. On Rossin: Pyer Stan Smith by Adidas
Hasmik Kourinian. McQueen stacked Marni brooch, $380; Marni Moss blazer ($280) and Originals sneakers, $75;
bangles set, $1,920; boutiques. Gucci ring, pants ($222); pyermoss adidas.com. On Drew:
CITY SLICK Alexander McQueen, $720; gucci.com. Boots, .com. Eckhaus Latta T-shirt, Fendi dress, $2,890; fendi
234: Shirt; Opening NYC. Marteau Vintage $1,590; Calvin Klein, $175; eckhauslatta.com. .com. Holst+Lee earrings,
Ceremony Men’s, NYC. twisted sterling-silver NYC. 239: Dress, price Marc Jacobs sport sandals, $45; holstandlee.com.
Skirt, Opening Ceremony cuf ($189) and Mexican upon request; Saks Fifth $275; marcjacobs.com.
Women’s, NYC. Earrings, silver-and-turquoise Avenue stores. Earrings, On Bate: Bode shirt, $445; LAST LOOK
$523; similar styles at vintage bangle ($95); $530; Marni boutiques. bodenewyork.com. Levi’s 250: Watch, apple.com.
Etro stores. Beladora marteau.co. Bow&Arrow Saint Laurent by Anthony overalls, $128; levi.com.
bracelet, $450; beladora cufs ($195–$449); Vaccarello cuf, $1,095; Redback boots. On Désir: ALL PRICES
.com. Gucci bangle, bowandarrownyc.com. Saint Laurent, NYC. Private Policy jacket, $540; APPROXIMATE
VOGUE IS A REGISTERED TRADEMARK OF ADVANCE MAGAZINE PUBLISHERS INC. COPYRIGHT © 2018 CONDÉ NAST. ALL RIGHTS RESERVED. PRINTED IN THE U.S.A. VOLUME 208, NO. 10. VOGUE
(ISSN 0042-8000) is published monthly by Condé Nast, which is a division of Advance Magazine Publishers Inc. PRINCIPAL OFFICE: 1 World Trade Center, New York, NY 10007. Robert A. Sauerberg Jr., Pres-
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249
Last Look
DE TAILS, S E E IN THIS ISSUE.
Apple Watch Hermès Series 4, $1,399

Though this timepiece may tick as though the inner workings were all bits and mechanical bobs, it’s anything but
analog. Crafted of ceramic and sapphire crystal and stainless steel, this latest iteration of the Apple Watch comes
outfitted with a lipstick-shade leather band by Hermès—and a few updates: Speakers are 50 percent louder
(all the better for the new Walkie-Talkie app), and while the watch is noticeably thinner, the face is 30 percent larger.
How, you ask? Apple likely chalks it up to “engineering” or some such—but we’ll just stick with “magic.”
P H OTO G R A P H E D B Y DAV I D B R A N D O N G E E T I N G

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