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Vogue us october_2016
- 1. “I want to create opportunities for people of color” RICHLY ROMANTIC PRINTS, LACE, SHEARLING—AND BOOTS TO LOSE YOUR HEAD OVER LOVE FALLING IN OCT Lupita The RIGHT-NOW Revolution RALPH LAUREN’S NEW FRONTIER Director’s CUT TOM FORD’S THRILLING SCREEN RETURN Staying STRONG A FATHER FACES THE LOSS OF HIS WIFE IN THE PARIS ATTACKS SCORE! CAM NEWTON’S WINNING STYLE
- 62. C O N T IN U ED > 9 4 100, 102 MASTHEAD 108 EDITOR’S LETTER 118 UP FRONT In his heartbreaking memoir,Antoine Leiris describes searching for KARLIE KLOSS (IN PROENZA SCHOULER) AND CAM NEWTON (IN A RAF SIMONS CARDIGAN AND BALDWIN JEANS). PHOTOGRAPHED BY GREGORY HARRIS. LIVE AND KICKING, P. 300 FALL Forward his wife after the Paris attacks—and resolving to stay strong for their child 130 LIVES After Christine Quinn suffered a high-profile defeat in New York City’s mayoral race came a period of deep reflection, she writes— and a renewed passion to help the homeless 142 NOSTALGIA Even at its most tumultuous, the love between Kira von Eichel’s unconventional parents held the family in its thrall Talking Fashion 167 ALL ABOUT MY MOTHER A new documentary about Italian Vogue editor Franca Sozzani couldn’t be any more personal—it was directed by her son. LynnYaeger goes behind the scenes 178 CARTOON COUTURE A generation of artists is redrawing the lines of fashion illustration 180 ON THE WORLD STAGE Clicks meet causes for Elizabeth Edelman at Global Citizen 184 BLOOMS WITH A VIEW Sandra Choi’s English- countryside home— much like her designs for Jimmy Choo—is brimming with blossoms 188 ALL EYES ON Ellie Bamber 190 WEDDING Fashion consultant Kate Foley weds Suno’s Max Osterweis 192 FAMILY STYLE Two Brooklyn restaurateurs bring home their vision of the good life with a leather-goods line and a cookbook 194 THE NEW BLUES Meet the labels putting out fall’s most covetable denim 202 TNT ElisabethTNThits thehighnotesin GermanyandAustria 205 THE LOOK IS . . . COLOR Beauty gets the kaleidoscopic treatment for fall Beauty & Health 215 PERFORMANCE PIECE Renegade makeup artist Isamaya Ffrench is changing the beauty conversation 218 SEEING SPOTS With adult acne cases on the rise, Kari Molvar goes in search of clear answers V O G U E . C O M V O G U E O C T O B E R 2 0 1 6 61 FASHIONEDITOR:SARAMOONVES.MENSWEAREDITOR:MICHAELPHILOUZE.HAIR,JIMMYPAULFORBUMBLEANDBUMBLE;MAKEUP,ROMYSOLEIMANI. SETDESIGN,NICHOLASDESJARDINSFORMARYHOWARDSTUDIO.PRODUCTIONBYPRODNATART+COMMERCE.DETAILS,SEEINTHISISSUE. October
- 95. Cover Look SUNSET STARLET Lupita Nyong’o wears a Chanel dress and Cathy Waterman earrings. To get this look, try: La Base Pro Hydra Glow, Nude Miracle Weightless Foundation, Les Sourcils Definis Brow Expert in Noir, Color Design Eyeshadow Palette in Kissed by Gold, Grandiôse Extrême Mascara, Juicy Tubes in Pure. All by Lancôme. Hair, Vernon François for Vernon François; makeup, Nick Barose. Produced by Onscreen Productions (Kenya). Details, see In This Issue. Photographer: Mario Testino. Fashion Editor: Tonne Goodman. 220 THE LONG GAME This season’s chicest nail is all about feminine length 230 FEAST OR FASHION? Probiotics have been called into question 230 EXTENSION SCHOOL Stretch your way to new heights PeopleAre TalkıngAbout 232 THEATER Janet McTeer and Liev Schreiber star in Les Liaisons Dangereuses 234 DESIGN Anandamayi Arnold fills paper fruits with surprises 234 MUSIC Maggie Rogers is harnessing viral fame to go her own way 236 ART Alan Shields’s colorful works speak to a new generation 236 TRAVEL A sixties motor lodge gets a sleek update 238 UP NEXT Nick Kroll and John Mulaney come to Broadway 240 BOOKS Brit Bennett adds a debut novel to her repertoire Fashion &Features 245 MY AFRICA In Queen of Katwe, Lupita Nyong’o brings her brilliance to a story from her native East Africa.To celebrate, she takes Vogue—and the most glorious prints of the season—to her family’s village in Kenya. By Elizabeth Rubin 262 THE NEW FRONTIER What will you wear to the revolution? Ralph Lauren has plenty of ideas 268 FREE COUNTRY Upstate New York’s Worlds End farm serves as the perfect foil for romance draped in the season’s coziest shearling coats. By Chloe Malle 282 ITALY’S MOMENT Prime Minister Matteo Renzi is charming, combative, pragmatic— and determined to reform his government. Jason Horowitz reports 288 HIGH CONTRAST Tom Ford’s dark new thriller, Nocturnal Animals, is a mythic American story about passion and revenge. By John Powers 292 ROCK STEADY Rich in restorative minerals, pink salt is finding favor among wellness advocates and spa devotees. By Maya Singer 294 ONE FISH, TWO FISH With omakase-style restaurants flourishing in New York, times have never been better for a sushi lover like Jeffrey Steingarten. But will a crisis of conscience spoil his fun? 298 MOMENT OF THE MONTH Hot heads 300 LIVE AND KICKING As Carolina Panthers quarterback Cam Newton suits up for another season, Karlie Kloss boots up in statement-making footwear.By Robert Sullivan Index 310 MOUNTAIN HIGH Camping goes global and polished 314 INTHISISSUE 316 LASTLOOK MAARTJE VERHOEF (NEAR RIGHT, IN A PATRICIA UNDERWOOD HAT) AND LINEISY MONTERO (IN A LOUIS VUITTON HAT). PHOTOGRAPHED BY PATRICK DEMARCHELIER. MOMENT OF THE MONTH, P. 298 Heads TOGETHER V O G U E . C O M 94 V O G U E O C TO B E R 2 0 1 6 FASHIONEDITOR:SARAMOONVES.HAIR,ESTHERLANGHAM;MAKEUP,SUSIESOBOL.SETDESIGN,DOROTHÉEBAUSSAN FORMARYHOWARDSTUDIO.PRODUCEDBYFILLINTHEBLANKPRODUCTION.DETAILS,SEEINTHISISSUE. October
- 101. ANNA WINTOUR Editor in Chief Design Director RAÚL MARTINEZ 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 Creative Director at Large GRACE CODDINGTON FA S H I O N /A C C E S S O R I E S Fashion News Editor EMMA ELWICK-BATES Bookings Director HELENA SURIC Accessories Director SELBY DRUMMOND Editors GRACE GIVENS, ALEXANDRA MICHLER, EMMA MORRISON Menswear Editor MICHAEL PHILOUZE Bookings Associate ERINA DIGBY Associate Market Editors SARA KLAUSING, WILLOW LINDLEY, FRANCESCA RAGAZZI Market Manager TAYLOR ANGINO Associates LAUREN BELLAMY, GABRIELLA KAREFA-JOHNSON, YOHANA LEBASI Fashion Writer RACHEL WALDMAN Fashion Market Assistant MADELINE SWANSON Home Market Associate SAMANTHA REES B E A U T Y Beauty Director CELIA ELLENBERG Beauty Editor LAURA REGENSDORF Beauty Associate ARDEN FANNING F E AT U R E S Culture Editor VALERIE STEIKER Senior Editors TAYLOR ANTRIM, LAUREN MECHLING, JOYCE RUBIN (Copy), COREY SEYMOUR Entertainment Director JILLIAN DEMLING Arts Editor MARK GUIDUCCI Style Editor at Large ELISABETH VON THURN UND TAXIS Assistant Editor ELIZABETH INGLESE Assistant Entertainment Editor SAMANTHA LONDON Features Associates LILI GÖKSENIN, MADELEINE LUCKEL, LILAH RAMZI Features Assistant LAUREN SANCHEZ A R T Deputy Design Director ALBERTO ORTA Art Director MARTIN HOOPS Associate Art Director NOBI KASHIWAGI Designer JENNIFER DONNELLY Visual Director ALEX O’NEILL Visual Director, Research MAUREEN SONGCO Visual Editor, Research TIM HERZOG Senior Visual Producers NIC BURDEKIN, JENNIFER GREIM Visual Editor LIANA BLUM Assistant to the Design Director ROSEMARY HANSEN V O G U E . C O M Managing Editor ALEXANDRA MACON Head of Product ISHANI MUKHERJEE Director of Engineering KENTON JACOBSEN Fashion News Director CHIOMA NNADI Director, Vogue Runway NICOLE PHELPS Executive Fashion Editor JORDEN BICKHAM Beauty Director CATHERINE PIERCY Executive Visual Director ANDREW GOLD Art Director FERNANDO DIAS DE SOUZA Director of Visual Production and Development ALLISON BROWN Fashion News Editor ALESSANDRA CODINHA Style Editor EDWARD BARSAMIAN Senior Fashion Writer MARJON CARLOS Market Editors KELLY CONNOR, CHELSEA ZALOPANY Associate Market Editor ANNY CHOI Accessories Editor BROOKE DANIELSON Archive Editor LAIRD BORRELLI-PERSSON Fashion News Writers KRISTIN ANDERSON, JANELLE OKWODU, LIANA SATENSTEIN, STEFF YOTKA Fashion News Associate EMILY FARRA Senior Beauty Writer MACKENZIE WAGONER Beauty Writer MONICA KIM Associate Beauty Editor JENNA RENNERT Deputy Culture Editor JESSIE HEYMAN Senior Culture Writer JULIA FELSENTHAL Culture Writer PATRICIA GARCIA Living Editor VIRGINIA VAN ZANTEN Living Writer BROOKE BOBB Visual Director SUZANNE SHAHEEN Senior Visual Editor EMILY ROSSER Visual Editors SAMANTHA ADLER, RUBEN RAMOS Enterainment Media Editor SOPHIA LI Visual Content Creator BARDIA ZEINALI Visual Associate ALEXANDRA GURVITCH Designer SARA JENDUSA Social Media Manager, Vogue Runway LUCIE ZHANG Associate Social Media Manager JULIA FRANK Production Manager CHRISTINA LIAO Assistant Managing Editor OLIVIA WEISS Research Editor LISA MACABASCO Producers IVY TAN, MARIA WARD Product Manager BEN SMIT Senior Developers JEROME COVINGTON, GREGORY KILIAN Developers JE SUIS ENCRATEIA, SIMONE HILL, BEN MILTON 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 Digital Production Manager JASON ROE Production Designers COR HAZELAAR, SARA REDEN Deputy Copy Chief CAROLINE KIRK Senior Copy Editor LESLIE LIPTON Copy Editor DIEGO HADIS Research Director ALEXANDRA SANIDAD Research Associate COURTNEY MARCELLIN 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 Editorial Business Director MIRA ILIE Associate Director, Operations XAVIER GONZALEZ Contracts Manager ALEXA ELAM Editorial Business Coordinator JESSECA JONES Special Events Associate LINDSAY STALL Executive Director of Communications HILDY KURYK Director of Brand Marketing NEGAR MOHAMMADI Communications and Marketing Manager DANIKA OWSLEY Executive Assistant to the Editor in Chief GRACE HUNT Assistants to the Editor in Chief CORINNE PIERRE-LOUIS, REBECCA UNGER European Editor FIONA DARIN European Fashion Associates CAMILA HENNESSY, ANTHONY KLEIN West Coast Director LISA LOVE West Coast Associate CAMERON BIRD Managing Editor JON GLUCK Executive Director, Editorial and Special Projects CHRISTIANE MACK C O N T R I B U T I N G E D I T O R S ROSAMOND BERNIER, MIRANDA BROOKS, SARAH BROWN, SYLVANA WARD DURRETT, ADAM GREEN, ROB HASKELL, NATHAN HELLER, LAWREN HOWELL, CAROLINA IRVING, REBECCA JOHNSON, DODIE KAZANJIAN, SHIRLEY LORD, CHLOE MALLE, CATIE MARRON, SARA MOONVES, SARAH MOWER, MEGAN O’GRADY, JOHN POWERS, MARINA RUST, LAUREN SANTO DOMINGO, TABITHA SIMMONS, JEFFREY STEINGARTEN, ROBERT SULLIVAN, PLUM SYKES, ANDRÉ LEON TALLEY, JONATHAN VAN METER, SHELLEY WANGER, JANE WITHERS, VICKI WOODS, LYNN YAEGER V O G U E . C O M 100 V O G U E O C TO B E R 2 0 1 6
- 103. SUSAN D. PLAGEMANN Chief Revenue Officer and Publisher Associate Publisher, Marketing KIMBERLY FASTING BERG General Manager DAVID STUCKEY A D V E R T I S I N G Executive Director, Digital Advertising KRISTEN ELLIOTT Advertising Director, Digital ELIZABETH MARVIN Executive Director, International Fashion and Business Development SUSAN CAPPA Executive Retail Director GERALDINE RIZZO Executive Beauty Director LAUREN HULKOWER-BELNICK Fashion Director JAMIE TILSON ROSS Luxury Director ROY KIM Senior Director, American Fashion and Beauty MARIE LA FRANCE American Fashion Manager LENA JOHNSON Account Managers BLAIR CHEMIDLIN, LYNDSEY NATALE Executive Assistants to the Publisher ANNIE MAYBELL, JEENA MARIE PENA Advertising Associate NINA CAPACCHIONE Retail Coordinator ELIZABETH ODACHOWSKI International Fashion Coordinator SAMANTHA KIRSHON Advertising Assistants LILY MUMMERT, ELEANOR PEERY, GABRIELLE MIZRAHI, CAMERON CHALFIN Advertising Tel: 212 286 2860 B U S I N E S S Executive Director of Finance and Business Development SYLVIA W. CHAN Senior Business Director TERESA GRANDA Business Managers CHRISTINE GUERCIO, MERIDITH HAINES Advertising Services Manager PHILIP ZISMAN C R E AT I V E S E R V I C E S Integrated Marketing Executive Director, Creative Services BONNIE ABRAMS Executive Director of Events, Partnerships, and Communications BRIGID WALSH Senior Director, Creative Development and Integrated Partnerships RACHAEL KLEIN Branded Content Director JANE HERMAN Integrated Marketing Director MARK HARTNETT Director, Special Events CARA CROWLEY Associate Directors, Integrated Marketing EUNICE KIM, MICHELLE FAWBUSH Digital Marketing Manager ELLYN PULEIO Senior Integrated Marketing Manager CASSANDRA SKOUFALOS Integrated Marketing Manager LIAM MCKESSAR Integrated Marketing Assistants SHARTINIQUE CHLOE LEE, TARA MCDERMOTT Vogue Studio Creative Director DELPHINE GESQUIERE Director of Vogue Studio Services SCOTT ASHWELL Associate Creative Director SARAH RUBY Art Directors NANCY ROSENBERG, TIMOTHY SCHULTHEIS Copy Director DEENIE HARTZOG-MISLOCK Designer KELSEY REIFLER M A R K E T I N G Executive Director of Marketing MELISSA HALVERSON Marketing Director YI-MEI TRUXES Senior Marketing Managers MEREDITH MCCUE, ALEXANDRIA GURULE Marketing Managers ANNA NATALI SWANSON, LINDSAY KASS D I G I TA L A D S T R AT E G Y A N D P L A N N I N G Director, Digital Operations JASON LOUIE Senior Digital Account Manager REBECCA ISQUITH Digital Account Manager COURTNEY CARROLL Associate Account Manager RYAN HOOVER Analysts, Sales Planning REBECCA YOUNG, ALANA SCHARLOP, HAYLEY SAMELA B R A N C H O F F I C E S San Francisco ASHLEY KNOWLTON, Northwest Director, 1700 Montgomery St., Suite 200, San Francisco CA 94111 Tel: 415 955 8210 Midwest WENDY LEVY, Director, 875 N. Michigan Ave., Chicago IL 60611 Tel: 312 649 3522 Detroit STEPHANIE SCHULTZ, Director, 2600 West Big Beaver Rd., Troy MI 48084 Tel: 248 458 7953 Los Angeles MARJAN DIPIAZZA, Executive West Coast Director; KATIE HUSA, Account Manager, West Coast, 6300 Wilshire Blvd., Los Angeles CA 90048 Tel: 323 965 3598 Southeast PETER ZUCKERMAN, Z. MEDIA 1666 Kennedy Causeway, Suite 602, Miami Beach FL 33141 Tel: 305 532 5566 Paris FLORENCE MOUVIER, Director, Europe 4 Place du Palais Bourbon, 75343 Paris Cedex 07 Tel: 331 4411 7846 Milan ALESSANDRO AND RINALDO MODENESE, Managers, Italy Via M. Malpighi 4, 20129 Milan Tel: 39 02 2951 3521 P U B L I S H E D B Y C O N D É N A S T Chairman Emeritus S.I. NEWHOUSE, JR. Chairman CHARLES H. TOWNSEND President & Chief Executive Officer ROBERT A.SAUERBERG, JR. Chief Financial Officer DAVID E.GEITHNER Chief Marketing Officer & President, Condé Nast Media Group EDWARD J. MENICHESCHI Chief Administrative Officer JILL BRIGHT Chief Human Resources Officer JOANN MURRAY Executive Vice President/Chief Digital Officer FRED SANTARPIA Executive Vice President–Consumer Marketing MONICA RAY Executive Vice President–Corporate Communications CAMERON R. BLANCHARD Senior Vice President–Business Operations DAVID ORLIN Senior Vice President–Corporate Controller DAVID B.CHEMIDLIN Senior Vice President–Managing Director–23 Stories JOSH STINCHCOMB Senior Vice President–Network Sales & Partnerships, CN & Chief Revenue Officer, CNÉ LISA VALENTINO Senior Vice President–Financial Planning & Analysis SUZANNE REINHARDT Senior Vice President–Strategy–23 Stories PADRAIG CONNOLLY Senior Vice President–Ad Products & Monetization DAVID ADAMS Senior Vice President–Licensing CATHY HOFFMAN GLOSSER Senior Vice President–Research & Analytics STEPHANIE FRIED Senior Vice President–Digital Operations LARRY BAACH Senior Vice President–Human Resources NICOLE ZUSSMAN General Manager–Digital MATTHEW STARKER C O N D É N A S T E N T E R TA I N M E N T President DAWN OSTROFF Executive Vice President–General Manager–Digital Video JOY MARCUS Executive Vice President–Chief Operating Officer SAHAR ELHABASHI Executive Vice President–Motion Pictures JEREMY STECKLER Executive Vice President–Alternative TV JOE LABRACIO Executive Vice President–CNÉ Studios AL EDGINGTON Senior Vice President–Marketing & Partner Management TEAL NEWLAND C O N D É N A S T I N T E R N AT I O N A L Chairman and Chief Executive JONATHAN NEWHOUSE President NICHOLAS COLERIDGE Condé Nast is a global media company producing premium content for more than 263 million consumers in 30 markets. www.condenast.com www.condenastinternational.com Published at 1 World Trade Center, New York NY 10007. 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- 109. Being the star of a docu- mentary made by her son, though—the photographer and filmmaker Francesco Carrozzini—can’t have been effortless or easy. During the course of filming they told me there were many strong disagreements about the direction the movie was tak- ing, with one early version unceremoniously scrapped. In the end, Francesco turned to Baz Luhrmann for advice, and what Baz said to him clearly paid off. The result, which you can read about in “All About My Mother”(Talking Fash- ion, page 167), by Lynn Yaeger, is totally compel- ling and insightful. And how could it not be, given Francesco is every bit his mother’s son? Both are intel- ligent, cultured, charming, don’t-ever-play-by-the-rule- book characters who each brought so much of themselves to this film. The deep bond between Francesco and Franca is very much in evidence throughout the T his October issue is really about fearless- ness. As you’ve no doubt guessed, our cover star, Lupita Nyong’o, is very much part of that, but it’s someone who isn’t used to being in front of a camera that I want to talk about first. Franca Sozzani, the editor of Italian Vogue, is the subject of a new documentary, Franca: Chaos and Creation, which just premiered at the Venice Film Festival. Franca is some- one I’ve been so lucky to call a good friend for 30 years now, with both of us becoming editors around the same time, so watching her story unfold on-screen was particularly mov- ing for me. Truth be told, I’ve always been rather in awe of her. She is a risk-taking visionary—and the hardest-working person I know. (The two qualities are, I suspect, not entirely unrelated.) That Franca makes her multitasking look so ef- fortless and easy is enviable. THE QUICK STUDIES LUPITA NYONG’O (WEARING ROKSANDA) WITH THE STUDENTS FROM MAMA DORCA NYONG’O GIRLS’HOSTEL, RATTA MIXED SECONDARY SCHOOL, IN KISUMU COUNTY. PHOTOGRAPHED BYMARIO TESTINO. FAMILY AFFAIR FRANCESCO CARROZZINI (FAR LEFT) AND FRANCA SOZZANI. PHOTOGRAPHED BY BRUCE WEBER. EDITO R ’S LE T T ER>1 16 BigPicture NYONG’O:FASHIONEDITOR:TONNEGOODMAN.HAIR,VERNONFRANÇOISFORVERNONFRANÇOIS; MAKEUP,NICKBAROSE.PRODUCEDBYONSCREENPRODUCTIONS(KENYA).DETAILS,SEEINTHISISSUE. 108 V O G U E O C TO B E R 2 0 1 6 LetterfromtheEditor
- 117. abouthisdecisiontodosoin“TheNewFrontier,”page262). John Powers met Tom at home in Santa Fe to discuss his sec- ond movie, Nocturnal Animals, a powerful, menacing study of revenge and retribution with—this is Tom, after all!—an utterly striking cast. John’s excellent piece (“High Contrast,” page 288) has its amusing moments, such as the account of Tom’s perfectionism kicking in as he poured a glass of water, yetitalsoepitomizeswhathasdrivenhiscareeralltheseyears: theability,asJohnputsit,tobe“atoncedeeplynostalgicand boldly of the moment.” One thing that Tom said—about not throwing away the people in our lives—particularly struck me. It’s a comment born out of personal experience. When he walked away from his first fashion life in 2004, Tom went from a huge support network to nothing. Professionally, at least, he became a single man, someone who had to learn how to live all over again. That he did so, and magnificently, is a huge testament tohisbravery,whetheritinvolvedsittinginthedirector’schair the very first time or acting on his instincts that the fashion system drastically needed an overhaul. At a moment when it’s more important than ever to stand by your words and actions, I’m pleased that in this issue we can celebrate three amazing and creative people who always do exactly that. movie, as he perfectly captures how she is an editor who con- stantly expands the notion of what a magazine can and should be. Here, closeness is no impediment to stepping back and seeing the bigger picture. As Lynn points out, “Carrozzini was aware practi- cally from birth that Sozzani was no ordinary mom. Not only was she driven and de- termined; she was also—in her fearlessness, her wild imagina- tion, her unique way of fusing socialissueswith fashion—not like any of her professional contemporaries.” Someone else who sees the bigger picture is Lupita, who I’m delighted to say is making her third Vogue cover appear- ance in as many years. This time around, she returned to hernativeKenyawithphotographerMarioTestino,Fashion DirectorTonneGoodman,andthewriterElizabethRubinin tow (“My Africa,”page 245). The story is a wonderfully inti- mate and life-affirming portrait of one of the most talented and beautiful actresses of her generation. Lupita is happy to use her fame and status in the world to do meaningful things—while also asking everyone to think more deeply and carefully about the challenges faced by people of color inourculturetoday.Herlatestfilm,Queenof Katwe,directed by Mira Nair, most likely got off the ground because of Lu- pita’s early involvement; ditto Danai Gurira’s play Eclipsed: Brilliant though it is, without Lupita’s presence it may not have made the transfer from the Public Theater to Broad- way—or even been staged at the Public to begin with. In her quietly ambitious yet fiercely focused way, Lupita questions thestatusquo—somethingthat is to be applauded, loudly. Lastly,TomFord.It’shisrole as a director that we’re focusing on now, rather than that of de- signer, though he continues to play that part to dazzling effect. Tom just showed a collection during September’s New York shows that was immediately available to buy (as did Ralph Lauren, a man never content to rest on his laurels, who talks DIRECTOR’S CUT LEFT TO RIGHT: JAKE GYLLENHAAL, MICHAEL SHANNON, AND TOM FORD DURING THE FILMING OF NOCTURNAL ANIMALS. PHOTOGRAPHED BY MERRICK MORTON. HOW THE WEST IS WORN ACTOR ALLISON WILLIAMS WEARS RALPH LAUREN COLLECTION. PHOTOGRAPHED BY DAVID SIMS. C O N TIN U ED F RO M PAG E 10 8 V O G U E . C O M 116 V O G U E O C TO B E R 2 0 1 6 LetterfromtheEditor
- 119. Love Among theRuins In his slender, heartbreaking memoir, ANTOINE LEIRIS describes searching for his wife after the Paris attacks—and resolving to stay strong for their child. NOVEMBER 13,10:37 P.M. Melvil fell asleep without a murmur, as he usually does when his mama isn’t there. He knows that with Papa, the lullabies are not as soft and the hugs not as warm, so he doesn’t expect too much. To keep myself awake until she gets home, I read. It’s the story of a novelist turned detective who discovers that a novelist turned murderer did not actually write the novel that madehimwanttobecomeanovelist.Myphone,lyingonmy bedside table, buzzes. I read the text from a friend: “Hey, everything OK? Are you at home?” I hate those text messages that don’t really say anything. I don’t reply. “Everything OK?”“ . . . ”“Are you safe?” What’s that supposed to mean, “safe”? I put the book down and rush to the living room on tiptoes. Do not wake the baby. I grab the remote. Live: Terrorist attack at the Stade de France. I think about Hélène. I should call her, tell her it would be a good idea to take a taxi home. But there is HOLDING ON THE AUTHOR, WITH HIS SON, MELVIL, PHOTOGRAPHED BY THIBAULT MONTAMAT. something else. In the corridors of the stadium, some people stand frozen in front of a screen. They are watching something that I can’t see. Not yet. Then, at the bottom of my screen, the news on the ticker suddenly stops. “terrorist attack at the bataclan.” The sound cuts out. All I can hear is the noise of my heart trying to burst out of my chest. Those five words seem to echo endlessly in my head. One second lasts a year. A year of silence, sitting there, on my couch. It must be a mistake. I check that that is where she went. Maybe I got it mixed up, or forgot. But the concert really is at the Bataclan. Hélène is at the Bataclan. I feel an electric shock go through my body. I want to run outside, steal a car, go out and look for her. But I’m paralyzed because Melvil, seventeen months old, is with me. I want to scream, but it’s impossible. Do not wake the baby. I grab my phone. I have to call her, talk to her, hear her voice. Contacts. “Hélène,” just Hélène. U P F RO N T>1 24 V O G U E . C O M 118 V O G U E O C TO B E R 2 0 1 6 GROOMING,LAUREGAUDOU UpFront
- 125. not in pain, not afraid? He misses his mother. She hasn’t come home for two days now. To soothe him, I send him to find a book from his bed- room. Smiling his six-tooth smile, he returns from his mis- sion with a book that he likes to read with his mother. It is the story of a pretty little ladybug in an enchanted garden. All the insects who gather nectar there admire the ladybug. She is the prettiest and kindest of all the bugs. Her mama is so proud of her. But one day, the little ladybug lands by chance on the hooked nose of an evil witch. Melvil has never known that the witch turns this sweet ladybug into a nasty ladybug who terrorizes the usually tran- quil garden. Concerned that he might be scared by them, Hélène always skipped those pages. Snug in his bed, Melvil saw only the good fairy who, with a wave of her magic wand, made the little insect beautiful and kind again. Today I skip those pages too. But when I see the fairy appear, in her dream- blue, star-covered dress, I suddenly stop. Melvil will not be able to skip these pag- es of his life the way he skipped the pages of the story. I have no magic wand. Our little ladybug landed on the witch’s nose. The witch had a Kalashnikov and death at its fingertip. I have to tell him, now. But how? Hestampshisfeet,throwshisbooksonthefloor.He’sabout tohaveameltdown.Ipickupmyphonetoplaythesongsthat he listens to with her, with his thumb in his mouth, wrapping himself around her like an affectionate little boa constrictor. I hold him against my body, trap him between my legs, so he can feel me, understand me. He spent nine months inside hismother,listeningtoherlive:Herheartbeatwastherhythm of his days. I want him to hear, his ear to my chest, my voice telling him my sorrow. I want him to feel my muscles tensed bythegravityof thismoment.Iwantthebeatingof myheart to reassure him: Life will go on. On the phone, I find the playlist that his mother put to- gether for him, and hit play. She handpicked every single song. Henri Salvador and his “UneChansonDouce”rubshoulderswithFrançoiseHardy’s “Le Temps de l’Amour.” As the first notes of “Berceuse à Frédéric”by Bourvil play, I open the photos folder. Her face appears, blurred, badly framed, but that is all it takes to jolt Melvil from the fragile calm produced by the opening words of the song. “It’s time to sleep now. . . .” Immediately he points an anxious finger toward her, and then turns to me, his smile turned upside down and warm tearswellinginhiseyes.Ibreakdown,andIexplaintohimas best I can that his mama will not be able to come home, that she had a serious accident, that it’s not her fault, she would havelovedtobewithhim,butshecan’tanymore.Hecrieslike I’ve never seen him cry before. The photographs flash up one by one, and the music starts to sting. We are like two children, crying our little hearts out. It’s normal that you feel sad; you’re allowed to be sad; Papa is sad too. Whenever you feel like this, come to see me and we’ll lookatthephotos.Thesongends.“Don’tforgetthismusic... thatIgaveyouoneday...withallmylove....” I never changed her name in my contacts list, never added “my love”or a photo of the two of us. Neither did she. The call she never received that night was from “Antoine L.” It rings out. Goes to voice mail. I hang up, I call again. Once, twice, a hundred times. However many it takes. I feel suffocated by the couch. The whole apartment is collapsing in on me. At each unanswered call, I sink a little deeper into the ruins. Everything looks unfamiliar. A phone call from my brother brings me back to reality. “Hélène is there.” In the moment when I pronounce these words, I realize thereisnowayout.Mybrotherandsistercometoourapart- ment. No one knows what to say. In the living room, the TV is on. We wait, eyes riveted to the 24-hour-news channels, which are already competing to come up with the most lurid headline. “massacre,”“carnage,”“bloodbath.”I turn off the TV before the word slaughter can be uttered. N.’s wife calls me. N. was at the Bata- clan with Hélène. He’s safe. I call him. He sayshedoesn’tknowwheresheis.Hélène’s mother joins us. I have to act, do something. My brother clears the way for me. Without a word, he picks up his car keys. We confer in whis- pers. Close the door quietly behind us. Do not wake the baby. There’s silence in the car. In the city around us, too. From time to time, the painful screams of a siren disturb the hush that has descended on Paris. We go to all the major hospitals. Bichat, Saint-Louis, Salpêtrière, Georges-Pompidou. . . . Her name is not on any of the lists. But each time, I am given a new reason to keep going. “Not all the wounded have been identified yet.”“They’re taking survivors at Bichat too.” Seven o’clock in the morning. In half an hour, Melvil will drink from his bottle. He must still be sleeping. A baby’s sleep, uncluttered by the horrors of the world. Time to go home. NOVEMBER 14,8:00 P.M. Melvil waits. He waits to be big enough to reach the light switch in the living room. He waits for me to make his dinner before I read him a story. He waits for bath time, for lunch- time, for snack time. And tonight, he waits for his mother to come home before he goes to bed. I wait too. I tell myself she will come through the bedroom door and join us for the last couplet. I tell myself she will finally call. I tell myself we are going to wake up soon. Melvil has fallen asleep. The telephone rings. It’s Hélène’s sister. “Antoine, I’m so sorry. . . .” NOVEMBER 15, 5:00 P.M. After the walk, it’s time for Melvil to settle down. Today I can tell he is annoyed. The cookie is too crumbly. The ball has rolled too far. The straps on his stroller are too tight. He struggles with everything jostling inside him. What is this feeling that makes him want to cry when he’s not hungry, U P F RO N T>1 2 8 AHusbandRemembers The cookie is too crumbly. The ball has rolled too far. He struggles with everything jostling inside him V O G U E . C O M 124 V O G U E O C TO B E R 2 0 1 6 UpFront
- 129. The tale of the little ladybug ends when, having once again become the prettiest ladybug in the garden, she finds her mama, who cries with joy at seeing her little girl again. Now I must explain to Melvil, every time he needs to hear it, why his mama will not be waiting for him at the end of his story. I tear the page out of the book and pin it to the wall of his bedroom, next to a photograph of her. Melvil is holding on to her shoulders while he lies on her back. She is looking at me, no pose, no lens. Her eyes speak di- rectly to me. They tell me about the simplejoysof thoseseventeenmonths we spent together, the three of us. NOVEMBER 16, 10:00 A.M. Accompanied by Hélène’s mother and sister, I map out the mortuary. Color-coded. Blue, police, so I can get through. Fluorescent yellow, psychological-support staff, to avoid. Black, mortuary staff, so I can see her again.Iheadtowardsomeoneinblue, who leads me to someone in black, who suggests I go to see someone in fluorescent yellow. I pretend not to hear what he says. Since arriving, I have been asked a dozen times if I would like to sit down; each time, I refuse, out of fear that I won’t be able to get up again. Protocols. Paperwork. Families come and go. About fifteen enter be- fore us. All reemerge in pieces. “You’ve come to see Luna-Hélène Muyal?” It’s our turn. Ayoungwomanspeakstous.Shehasdonethisathousand times before, I can hear it in her voice. Hélène is there, just next door. I can sense her. I would like toseeher,alone.Hélène’smotherandsisterunderstand.They know that even here, it is the two of us, first of all. We were like two little Lego bricks that fit together per- fectly.Our“onceuponatime”beganoneJune21,withmusic, at a concert. I thought she wouldn’t want someone like me. We were both Parisian, but I thought she was too beautiful, too sophisticated, too everything for a guy like me. I took her hand. We were swallowed up by the crowd and the noise. Until the last moment, I thought she would escape me. Then we kissed. A love story like any other. The door opens. “Let me know when you’re ready.” She is there. A pane of Plexiglas separates us. I press on it with all my weight. Our life together flashes before my eyes. I feel as though I never had another life. Hélène was the moon. A brunette with milk-white skin, eyes that made her look like a frightened owl, a smile you could fit the whole world inside. I remember her smile on our wedding day. She is just as beautiful as she always was. She looks like the woman I watched wake up each morn- ing. I want to lie next to her languorous body, warm her up, tell her she is the most beautiful woman I ever met. I want to close my eyes, too, and wait for Melvil to call out to us, to start tangling himself up in our crumpled sheets. Hélène often asked me if love could be shared. If, after the arrival of our child, I would still love her as much. After his birth, she never asked that question again. Icry,Italktoher.Iwouldliketostayanotherhour,atleast aday,perhapsalifetime.ButImustleaveher.Themoonmust set.Today,November16,thesunrisesonournew“onceupon atime.”Thestoryof afatherandasonwhogoonlivingalone, without the aid of the star to whom they swore allegiance. “Monsieur,itistimetoleaveher....” NOVEMBER 16, 11:00 A.M. Since coming out of the mortuary, I have only one thought in my head: going to see Melvil at the day care. Finding him and telling him that I saw his mother, and I brought her with me in the palm of my hand. We are in the car, on the way back, when it begins. My brother-in-law, who is driving, sees my foot freneti- cally tapping, and says reassuringly, “You’ll get to the day care on time, don’t worry.” It is not the stress of being late that dictates these move- ments, it is the words that have sud- denly started to form in my mind, imposing their rhythm. One after another or all at the same time. Each onebeginstoplayafewnotes,likethe moments before an orchestra starts to play. Melvil was the only one, that day, who could respond to my smile with a smile. The only one, that day, who saw that I had his mama with me. We go home on the path that he adores, the one where we see the most road signs. He lifts up his arms: “No parking!”He lifts them again less than 50 feet later . . . another “No parking!”And so on. . . . House, lunch, diaper, pajamas, nap, computer. The words continue to arrive. All I have to do is pluck them from the air. After a few minutes, the letter is there: “You will not have my hate.” I hesitate for a while before posting it, then my brother forces me to do what I have not done for two days. “Lunch is ready. Come and eat!” No time to think about it. Facebook, through which I’m communicating with some of Hélène’s friends, is open in the next tab. “What’s on your mind?”it asks. Copy, paste, post. My words no longer belong to me. On Friday night, you stole the life of an exceptional being, the love of my life, the mother of my son, but you will not have my hate. From the book You Will Not Have My Hate, by Antoine Leiris, copyright 2016 by Librairie Arthème Fayard and translation copyright © 2016 by Sam Taylor. To be published on October 25. Reprinted by permission of Penguin Press, an imprint of Penguin Random House LLC. MOTHER AND SON HÉLÈNE MUYAL-LEIRIS WITH MELVIL, 2014. AHusbandRemembers V O G U E . C O M 128 V O G U E O C TO B E R 2 0 1 6 UpFront COURTESYOFANTOINELEIRIS
- 133. Losing Out Loud Three years ago, former front-runner CHRISTINE QUINN suffered a high-profile defeat in New York City’s mayoral race. But what came next? A period of deep reflection, she writes—and a renewed passion to help the homeless. I lost my mother when I was sixteen. She always made clear to my sister and me that we were win- ners, that nothing could stand in our way—not opposition, not sexism, nothing. We were strong Irishwomen, and Irishwomen push through. Herconvictionpropelledmeintopolitics,intothe speaker’s chair of the New York City Council for eightyears,and,in2013,intothemayoralrace.Anditseemed for some time that my mother had been prescient. The poll numbers, public opinion, and conventional wisdom all told a consistent story: I would win the race and make history as thefirstfemale,andfirstopenlygay,mayorof NewYorkCity. AndsoIranoutof thegate,throughthefiveboroughs,full of joy and momentum. I was constantly thinking of women and girls, and LGBT children, who grew up feeling hopeless, and what my victory could mean for them and their futures. Thatmomentumchangedfast.SuddenlyIwatchedmylead slip away. I felt powerless to stop it. I stood in the spotlight as the prospect of certain victory turned into clear and convinc- ing defeat. The final weeks of campaigning, when I knew I wouldn’t succeed, were excruciating. Thenitwasover.Iconceded,whilemyamazingwife,Kim, kept her hand on my lower back for support. A week later, I stoodinfrontof CityHallandendorsedmyopponent,Billde Blasio. Those days are still white-hot in my mind. Today,threeyearson,Iremainstruckbyhowdifficultitall was.I’dalwayshadthetoughestpersona,thethickestskin,the loudest voice, the most boisterous laugh. I’d moved quickly and let the brickbats bounce off me. Fragility was anathema, failureadirtyword.Thestrengthmymothergaveuswithboth hands prepared me to work hard, expect success, to strive for it, and to believe in my own limitlessness. JUMPING THROUGH HOOPS QUINN, WITH CHILDREN AT THE WIN SHELTER, BROOKLYN. RYANPFLUGER.SITTINGSEDITOR:MICHAELPHILOUZE.HAIR,PAULWARREN;MAKEUP,MICHAELANTHONY.DETAILS,SEEINTHISISSUE. LIV ES >1 32 V O G U E . C O M 130 V O G U E O C TO B E R 2 0 1 6 Lives
- 135. Immediately following the results, I focused on wrapping up my term as speaker, work that provided me with a much- needed distraction. I insulated myself with obligations, dead- lines,andmeetings,refusingtoallowadownminute.Itriedto ignore the fact that there was a mayoral transition the whole city was watching, and that it wasn’t mine. True to form, I threwmyself intothiseffortandpostponedaddressingtheim- pact of the race—not on my political career but on my heart. The day after the primary was September 11. I went down to the Memorial because that’s what I had done every Sep- tember11foreightyearsasspeaker.Iturnedmyphoneoff,of course.AndwhenIfinallyturneditbackonhourslater,Isaw three missed calls from Hillary Clinton’s office. Then I went home and got under the covers. There were more calls from her office. I called her back, which was difficult for me. It was a very emotional call. She told me how hard it had been for hertowatchwhatwashappening.PresidentClintoncalledthe sameday.I’llneverforgetit.Hesaid,“Justkeepdoinggood.” My ennui felt embarrassing, shameful even. I felt that I had so profoundly let everyone down. I wanted to avoid be- ing seen. Kim had to walk the dogs; I didn’t want to go out. I sat at home watching TV—thank God for NCIS reruns and SVU—ruminating on all that I had not done right. Over the holiday we went to Thailand: I wanted to be somewhere halfwayaroundtheworldwithalottosee,aplacewhere,even if I was trying to troll the blogs, it would be hard to keep up. When I talked to Andrew Cuomo after my defeat, he said, “Look, all you did was lose. I imploded in front of the whole state of New York, and look at me now—I’m the governor. You’llbefine.”AndIsaid,“Howlongtillyoufeltbetter?”He said: a year. “A year? That’s horrible!”There he was, this big, tough guy. He said, “I’m just telling you the truth.” Back home again, it was difficult to figure out what to do. Should I throw myself into finding a new job? Should I take some time, as Kim was advocating? People were lovely, but I didn’twanttogettogetherwiththem.Ireplayedeverydecision I had made: We had peaked too early. I should have punched back when the people who wanted horse carriages banned got funding from an outside group and ran attack ads that misrepresented my position. I remember an interview with Barbara Walters when she was asked, “What’s your biggest regret?”Shestartedlaughingandsaidsomethingtotheeffect of, “Oh, I’ve asked people that question a million times, and somepeoplesay,‘Ihavenoregrets.’IregretIworetheseshoes instead of the tan ones, you know? I regret these earrings.” I kept thinking about that because I had a litany of regrets. SlowlyIbegantosharethem.Thedefeatanditsimpactforced metoseethatbarrelingthroughchallengeswithoutacknowl- edging their difficulty was a strategy that had its limitations. And then I got out of bed. Kim and my amazing fam- ily and friends helped. So did the dozens of everyday New Yorkers who stopped me while I was walking And so I lived and grew through coming out as a lesbian in a less enlightened time; through losing my mom to cancer before I’d finished high school; through wrestling with alco- holism and bulimia. I rose to the top of the political heap in a toughcity—andIstoodfirmthrougheveryloss,resoluteand ready to tackle the next challenge. But my mother, whom I missandlove,leftmeunpreparedinonesense.Shetaughtme to power through, and I have, but at a cost. L osing in private is hard. Losing in public is hard- er. And I think women lose and fall harder than men. To outsiders, the stakes seem different, and the conversation is skewed; to me, being a woman—and being gay—meant a different recovery process. When I lost, I felt as though I’d disap- pointed thousands of people I’d never met who had pinned their hopes on me. Politics is a mixture of the deliberate, languorous pace of crafting legislation and the frenetic contact sport of elec- tions and jockeying for the next headline. I thrived in that rough-and-tumble world, working my way up from young staffer to the city’s top lawmaker; it was exhilarating and deeply fulfilling. But there’s a flip side to those highs. Politics can be binary: all or nothing, yes or no, win or lose. Whenever there was a badpressstory,orif Imadeamistake,Iwouldbeatmyself up. AndsoitwaswhenIlosttheraceformayorof NewYorkCity thatwas,tociteapostmortemNewYorkTimesdocumentary that I’ve never brought myself to watch, mine to lose. Mayorof NewYorkCity.ItwasajobI’dkeptaneyeonmy whole career. On Primary Day, I was campaigning outside a supermarket on the Upper West Side when a group of girls, ten or eleven years old, spotted me and called out, “There’s Chris Quinn, the woman who’s running for mayor!”As the light changed, they ran across the street to meet me. I’ll never forget that one of them shook my hand and burst into tears. Girls that age are their most pure selves. They aren’t chil- dren;theyhaveaheadontheirshouldersandhaven’tyetbeen corruptedbythetoxicityof asocietythatpitswomenagainst one another. As I hugged her, she said through her sobs how incredible it was to her that a woman could be mayor, and to meet her, and to visualize it. When I conceded, only hours later,allIcouldthinkof wasthatgirl.Shepersonifiedtheloss. I’m still struck by how hard it is to separate what’s per- sonal—as in what’s uniquely mine—from what’s necessarily asharedexperiencewithotherwomen.Partof thatisbeinga publicfigure,sonaturallyIknewalotof eyeswereonmeand thatotherpeoplelookedatmydestinyandsawtheirs.I’malso stillshockedbyhowlongthepersonalimpacthasaffectedme. While there were still, officially, two more months to the mayor’s race, the night I lost the primary was the decisive moment. New York is an overwhelmingly Democratic city; no Republican had a realistic chance at victory in a citywide race. Bill de Blasio shot ahead of me and Bill Thompson, the former city comptroller, to secure his spot on the Democratic ballot against a long-shot Republican, effectively sealing the deal. In the same breath that the networks hailed de Blasio as a victor, the talking heads deemed my political career over. Kim had to walk the dogs. 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- 143. things that allowed me to contribute, but on some days I still felt dogged by the feeling that I had failed people. Thecompanionshipof brilliantwomen,andmentoringthe next generation, brought me joy as I taught politics at Har- vardforasemester.Iworkedalongsidefiveincrediblefellows, including two formidable female public servants: former U.S. senator Kay Hagan of North Carolina and former Massa- chusettsattorneygeneralMarthaCoakley,bothof whomhad also recently suffered high-profile political defeats. Bonding with them—in the student dining halls, at yoga class—was a way to share an experience to which few can relate. We sup- ported one another through laughter and tears and looked ahead, trying to rebound and figure out our next chapters. Last fall, two years after my defeat, I felt ready to return to public service, and I yearned to get backtomyroots.Atthebeginningof mycareerI wasahousingadvocateandtenantorganizer,as- sistinglower-incomeNewYorkersastheyfought fortheirrighttoaffordablehousingandfreedom frompredatorylandlords.Manywerepoorwom- en of color, including seniors and young single moms.Thefeelingof helpingtoreverseanunfair evictionandkeepingthesewomenintheirhomes was sweeter than any political triumph. I n November 2015, I started my first full- timepost-politicsjob.IrunWin,formerly called Women in Need. It’s New York City’s largest nonprofit that provides shelter and support services for homeless women and their children, offering them their ownunitsinelevenshelters.Duringtheday,these women work, look for jobs, and send their kids off to school. At night, they serve dinner and help with homework. Many have fled domestic violence or are in recovery from substance abuse or mental illness. Many grew up homeless them- selves. Some are undocumented. They are the forgotten faces of homelessness. I knew that taking the job at the very moment that the mayorwasbeingpilloriedbythepressforhismanagementof NewYork’sacutehomelessnesscrisismightraiseaneyebrow.I couldseetheheadline:onetimerivalquinntoplaydeblasio foil on homelessness. But I also knew that to be effective in myrole,Inotonlyneededtojoinforceswiththemayor,Ineed- edtosupporthisadministration’seffortstogetahandleonthe problem.Ihadtodothisknowingthatmydefeatin2013came in large part due to a sustained attack he levied, falsely accus- ingmeof lookingoutforthewealthyattheexpenseof every- one else during my time as City Council speaker. Partnering with him was tough at first, but in fact we work well together andareunitedbyourmutualloveforNewYorkandthedesire to help people—and that matters much more than politics. In the political arena, I had an extraordinary opportunity this summer to play a part as a surrogate in supporting the presidential bid of Hillary Clinton. She’s one of my mentors, who was there for me in good times and not-so-good times. Thenightshewinsthepresidencywillbeawatershedmoment for women and girls everywhere. the dogs, spinning, getting a haircut, eating out, or riding the subway, to offer a kind word and a pat on the elbow. It meant the world. I received a lovely note from New York’s Cardinal Dolan (who, as you can imagine, agrees with me on some things but certainly not everything). He said, “I haven’t heard from you, so I fear you think I only liked you because youwereinapowerfulposition.That’snottrue;Iactuallylike you. When can we get pasta?” That first winter I was out of office, Kim said to me one nightovertakeout,“Whatdidyouusedtolovetodothatyou didn’tgettodowhenyouweresobusyinpolitics?”And—this is so ironic in view of those anti–horse carriage advocates—I answered, “I used to love riding horses.”We have a house on the Jersey Shore, so we went to find a stable. I started taking lessonsandthenveryquickly,andperhapsimpulsively,bought a horse who was too young, too high energy, and very bom- bastic. I know, I know . . . that does ring some bells. I began torideherandtakecareof her,which—particularlywiththis horse, who was very needy—was wonderful and reaffirmed that I could be helpful outside government or politics. Mylifebegantoseembrighter,andIfeltstrongerandsurer of myself.AndrewCuomoaskedmetohelphimworktoward legislation dealing with sex crimes in the university system, and I seized the opportunity to give voice to those who were silenced in the seemingly unending epidemic of rape on col- lege campuses. I returned to my advocacy roots by joining nonprofitboards:pushingforchoiceandwomen’shealthand reproductiverightsattheNationalInstituteforReproductive Health Action Fund; advocating for LGBT youth through the Tyler Clementi Foundation; and fighting for equality in sports through Athlete Ally—especially as Russia repressed theLGBTcommunityduringtheSochiOlympics.Allof these stepsforwardwereimportantvictories—buttherewereocca- sionalsetbacksandbumpsintheroad.Iwasdoingrewarding THE SPEAKER STANDS CANDIDATE QUINN ATTHE NEWYORK PUBLIC LIBRARY, PHOTOGRAPHED DURING HER MAYORAL RACE BY MIKAEL JANSSON, VOGUE, 2013. TheComebackKid C O N TIN U ED O N PAG E 31 2 V O G U E . 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- 145. Even at its most tumultuous, the love between KIRA VON EICHEL’s unconventional parents held the entire family in its thrall. W hen my mother was pulled into a pool in the midst of a raucous party, it was by my father, who was in the pro- cess of divorcing her. It was 2002, at a farm in Virginia. The dancing at the party was frenetic, and the two of them, Henry and Lindy, were at the center of it. Even as they were coming undone, they couldn’t stopdancingwitheachother.Atsomepointsomeonepushed a guest, fully clothed, into the pool, setting off a cheerful melee of tumbling waterborne partygoers. My mother play- fully shoved her soon-to-be ex-husband, and as he fell, he grabbed her arm and she tumbled in on top of him. They were underwater unraveling limb from limb, and when my father emerged to the surface he screamed bloody murder. My mother claims she wasn’t trying to drown him; that she couldn’t control where she fell in after him. I believe her. She’s not the murderous type. But he went on to repeat the story throughout Washington, D.C., and all the way to Mu- nich, where most of his family lived. Can you believe Lindy tried to drown me? A year before the party, 9/11 happened, and my parents were still living in the house together. My brother, sister, and I were in New York. We each made it to our homes safely, and when the phone lines opened, we called one another. My sister insisted we all drive to Connecticut, to her mother- in-law’s house. My husband and I were in our apartment in LittleItaly.Iwantedtostay.Thephonerangagain,anditwas LindyandHenry.Theywereonthekitchenphone,theysaid. Icouldpicturetheirfacespressedtogethertothereceiver,and Iyearnedforthem.Theytoldmetogo;theysaidtheyneeded to know we were all safe. So we went. The mother-in-law told me that it was prob- ably good that our parents were splitting up because we were too obsessed with them. It was true. But HEAD OVER HEELS A MODEL TAKES A TUMBLE. PHOTOGRAPHED BY HELMUT NEWTON FOR VOGUE, 1973. N OSTA LG IA >16 0 Making a Splash V O G U E . C O M 142 V O G U E O C TO B E R 2 0 1 6 Nostalgia
- 147. what she missed was that being in their club, loving them so much and being taken on their ride—sometimes blissfully, at other times stressfully—was all we knew. Other people reject their parents as early as twelve. It’s a rite of passage and self-determination. Our position was more slippery. Our parents had had my sister and me when they were in college—in a sense we’d grown up together. They moved from Switzerland to Toronto, where my father worked at the Bank of Nova Scotia and my brother was born. My siblings and I were still small children when we moved again, to Washington, D.C. And we were misfits, no country to call home, split between Europe and North America. We defined ourselves by our unconventional par- ents and lived in the cocoon of being their offspring. T hey met in 1968. He was a young German bar- on banished to Canada for a series of infrac- tions that included too-long hair and a love of rock’n’roll. She was a Toronto WASP turned beatnik in the thirteenth grade of Branksome Hall,theschoolhermotherhadalsoattended.Heshowedup a Pied Piper, leading her into corners of Toronto she’d never explored to buy exotic cheeses and German bread for picnics on her family’s farm. And no one was a better combination of nurturing and game than she. She kissed away the many wounds of his somewhat gothic upbringing: the cold castle; the coal in his stocking. We didn’t grow up as the kids of hippies or as typical children of privilege. Our rambling Victorian house in D.C. attracted people from all walks of life. They gathered week after week throughout my childhood to be dazzled by my father and comforted by my mother. Relatives in tasteful tweed from Germany, bagpipe- and bridge-playing Cana- dians, think-tank fellows, liberal senators, poets, and artists who otherwise eschewed human company, all met there. A friend of my brother’s who slept over often called them von Eichel Kitchen People. Ours wasn’t a show house; it was decidedly lived-in. Fab- rics from around the world covered Biedermeier sofas. My mother’s obscure poetry journals and our Hindu comic books from the ashram we had been to weighed down the tables. The place was filled with strange collections that ranged from my father’s ivory heads to his great-grand- father’s ancient coins to tableaux of Tintin figurines. My father dressed us in baggy pants from Argentina, raincoats from Australia, and Liberty print dresses from London. My mother wrote us letters apologizing when she lost her temper and included snippets of Emily Dickinson or William Blake to make a point. Screaming fights and flying porcelain, and my mother’s threats to leave and never come back, regularly accompa- nied summer visits to relatives’castles in Germany or to my mother’s parents’horse farm in Ontario. We were described by our parents as classless and free, but instructed that chew- ing gum was gauche. We weren’t allowed to cut bangs, as we were told one should never conceal one’s forehead, but Doc Martens boots and hair dyed blue-black were applauded. Impeccable table manners were non-negotiable, yet loud conversation and strong opinions were encouraged. Walkinginonourparentsinflagrantewasnotuncommon, andIalwayssawitasproof thatallwaswellinspiteof thefights. Andhereiswhereitgetstricky.Hewasunfaithfultoher.With allhisbrilliance,anditshighs,sexwasboundtoenterthemix. And so, suddenly, after 33 years, the beautiful chaos and idealism couldn’t hold the center. We three children each left home for universities in the 1990s. By the time our parents began to split in 2001, they had grown into adults with differ- ent values. He reverted back to type, as a German aristocrat, whilehercommitmenttopsychologydeepened.Whenthefive of us were together, the old theater of the perfect bohemian family endured, but when the weekend was over, they grew more distant again. Their breakup felt as though it were against the laws of nature, not just to us but to a whole group of friends who couldn’t fathom how it was possible. We had to rearrange our entire sense of things, try to know one parent without the other. Together they had been irresistible, in spite of their many flaws, and apart they were too human, and the flaws felt too close to the bone. He had never been faithful; she was chaotic and prone to rages. Henry was drawn like a magpie toshinythingsandpeople;Lindy,inthosedays,neededtobe needed a touch too much. Neither one was able to do in the world alone what they’d done together. Henry died young, at 64, of complications from leukemia. My brother and I found a box of letters he’d saved from various conquests during the years he’d been unfaithful to my mother. They were hilariously poorly written, which my brotherpointedoutwasarelief—Mommywouldneverwrite stupidletterslikethat.Whenhesaidthis,ourmotherlaughed and said that when she’d rail against the affairs, he would explain that he didn’t love the others the way he loved her. Four years later, I still miss him acutely. Lindy, at long last, became a therapist, on top of being a poet. My two siblings and I talk almost daily, share friends and playlists, and can’t help living within blocks of one another in Brooklyn. A few weeks before my father died, I lay in his bed at the house he shared with his second wife in Austria. We were holding hands, and he said he wished my mother could see the view of the lake from the window, as if the end of his life didn’t quite make sense without her to bear witness. Impeccable table manners were non-negotiable, yet loud conversation and strong opinions were encouraged JOY RIDE HENRY TAKES LINDY FOR A SPIN IN GERMANY, 1970. V O G U E . C O M 160 V O G U E O C TO B E R 2 0 1 6 COURTESYOFKIRAVONEICHEL CrazyforThemNostalgia
- 154. W ho’s going to play me?” Franca Sozzani asked when her son, Francesco Carrozzini, informed her that he was planning to make a film about her life. “You are playing Franca,”he replied. And who better to bring to life the spectacular career of this editor in chief, for 28 years at the helm of Italian Vogue, than the woman herself? Carrozzini’s new biopic, Franca: Chaos and Creation, took six years to complete. Though he began by immers- ing himself in other biographical films—Anderson Coo- per’s documentary with his own mother; Martin Scorsese’s Italianamerican; My Architect, by Nathaniel Kahn, about his father, Louis Kahn; and Sarah Polley’s Sto- ries We Tell among them—some of the subjects of those films were deceased. But even when they were alive, were they as seemingly impenetrable as the enigmatic Sozzani? Persuading his mother to embark on the project in the first place was no easy task. “She said yes—but there were a lot of buts,”Carrozzini recalls. “Many times she didn’t want to keep doing it; it was too hard—I feel like the whole thing almosttankedsevenoreighttimes!Wearguedsomuchabout things—not about content but about the music, the colors, certain home videos she didn’t want in. She was relentless!” he says, laughing. “It was a lot of ‘Fuck you,’a lot of ‘I love you.’”Carrozzinismiles.“Mymothertreatsmelikeshetreats herphotographers:Whenyoudon’thear,youknowit’sgreat.” It proved far simpler to get his mother to talk about her business life than her personal story, but even there, he says, Sozzani is a woman of famously few REEL LIFE FRANCA SOZZANI WITH HER SON, FRANCESCO CARROZZINI, PHOTOGRAPHED BY BRUCE WEBER, 2016. AfascinatingnewdocumentaryaboutItalianVogueeditor FrancaSozzanicouldn’tbeanymorepersonal—itwasdirected byherson.LynnYaegergoesbehindthescenes. AllAbout MyMother TA L K I N G FAS H I O N >16 8 V O G U E . C O M V O G U E O C T O B E R 2 0 1 6 167 EDITORS: MARK HOLGATE & MARK GUIDUCCI TalkingFashion
- 155. words. And, in fact, one gets a sense of the subject’s silent authority in the scenes where Carrozzini films her strolling alone, perfectlycoiffed,exquisitelygarbed,andlost in thought through a snowy Central Park. A first cut of the movie was rejected— Sozzanitoldhimcurtlythatitdidn’tgodeep enough, that it was like a TV movie—but both agreed that the final version, completed in April, was good to go. Carrozzini says he hopes that he has fulfilled Baz Luhrmann’ friendly instructions: “Make the movie tha only you can make—bring to the table you mother and you,”the director told him. Carrozzini was aware practically from birth that Sozzani was no ordinary mom. Not only wasshedrivenanddetermined,shewasalso—in her fearlessness, her wild imagination, her unique way of fusing social issues with fashion—not like any of her profes- sional contemporaries. “I didn’t even know what I was doing—it even surprises me,” Sozzani says, laughing as she takes the measure of a tenure that includes flaunting models posed in daring, socially conscious scenarios shot by stellar photographers who were allowed not just to push but to smash boundar- ies. As Bruce Weber, who worked with her from her earliest days, explains in the film, “She wasn’t asking me a million questions. I thought, Wow, she trusts me!” For almost three decades, trusting luminaries that include Weber, Peter Lindbergh, and Tim Walker, Sozzani has been buildinganotoriousbackcatalog,including“Water&Oil,”a 2010featurethatfamouslyofferedmodelKristenMcMenamy covered in oil and supine on a beach, a clear reference to the horrific BP spill. The photographer for this scandalous effort was her stalwart comrade Steven Meisel, who has shot so many of her covers, and the ensuing controversy—whatever was this doing in a fashion mag?—landed Sozzani on CNN. “Why can’t I talk about it? Why can’t a fashion magazine talk about what’s happening in the world?”Sozzanirespondswhencrit- ics suggest that her topics—women swooning in graveyards, women ar- rested, women abused, a gaggle of models in various stages of plastic surgery—havenoplacebetweensoft covers. “Market researchers always say, Do this, do that.”She shrugs. “I did the exact opposite of what they said. I don’t think that today a fash- ion magazine can only show you the clothes, and that’s it.” Perhaps the most famous exam- ple of this manifesto was her July 2008 Black Issue, a decision to fea- ture black models exclusively. Some thought this was perhaps meant to echo the segregation rampantintheindustry,butSozzaniarguesthatherintention was just the opposite. “I knew it would be controversial, but I was sure that was the right moment.”In any case, the issue sold out and was reprinted twice. SozzaniwasbornintoaprosperousnorthernItalianfamily (thefilmincludeshomemoviesof herasachildenjoyinglush summerholidays)andsaysshealwaysthoughtshe“wasgoing to have a bourgeois life—a husband, kids, a country house, a beach house.”She married young, but the union was very brief—asked why she went through with it in the first place, shedeadpans,“BecauseIwasalreadywearingthedress.”She planned to study physics at university—never imagining the combustible mixture she would introduce in the pages of a magazine—before switching to philosophy and literature. Thentwothingshappenedthatchangedherforever:Shefell in love with Yves Saint Laurent—because, she says, he gave a womanpermissiontodresslikeaman—and,inthelate1960s, she visited London. “At that time in Italy there was a very conservative way of dressing,”she remembers. “When I went to London, I found a totally new world, and it changed me completely:notonlymyapproachtoclothesbutevenmyway of living. We were breathing a completely antiestablishment kind of air. Maybe in my head I never came back.” Sozzanineverabandonedthatrevolutionaryoutlook.From the first, she says, “I knew that Italian Vogue would not just be a social magazine. It was important for me to do some- thing different.”Something different, indeed: The strength of thephotographs,theinternationallanguageof images,the unique way they merge brutal reality with fantasy are what gives her work its special power: “I add the dream!”as Soz- zani says. And while that’s true, there is a firm reality behind thatdream—onethathersonbrilliantlyelucidatesinFranca: Chaos and Creation. In taking as its subject this iconic editor, who has until now remained a rather mysterious figure, he shows us a woman—a mom!—whose vision has always been laced with courage and humor. But if the pictures in her magazine are provocative, the invisible hand is gentle. “You need to be light in life,” Sozzani explains in the film. “Lightness for me is when being profound allows you to fly high.” FAMILY TRADITION SOZZANI’S FATHER WALKS HER DOWN THE AISLE. TA L K I N G FAS H I O N >17 8 t d e ’s at ur ROLE CALL MODELS KRISTEN MCMENAMY (LEFT), 2010,AND JOURDAN DUNN (RIGHT), 2008. CENTER: MODEL LINDA EVANGELISTA, 2005.ALL PHOTOGRAPHED FOR ITALIAN VOGUE BY STEVEN MEISEL. V O G U E . C O M ROLECALL:COURTESYOFITALIANVOGUE.FAMILYTRADITION:COURTESYOFFRANCASOZZANI. 168 V O G U E O C TO B E R 2 0 1 6 TalkingFashion
- 157. CartoonCOUTURE J ust to be clear: While so- cial media didn’t start the fire that is street-fashion illustration, they certainly fanned its flames. Unlike in the seventies and eight- ies, though—the last time illustration was this huge—the hottest illustra- tors posting today are predominantly female, and in their new relationships with designers and brands they’re having some fun with fashion. The London-based painter Helen Downie began quietly putting her work on Anewgenerationofartistsisredrawingthelines aroundfashion,illustration,andsocial-mediawhimsy. practitioners have set up pad and pa- per in New York. Joana Avillez grew up drawing, her mother a painter and photographer and her father a Por- tugal-born illustrator. “My dad and I would just draw all the time,” she recalls, “and after dinner we’d all be working on something together.”She went to school for painting, but after a stint in the art world she published Life Dressing: The Idiosyncratic Fash- ionistas—sketchesof twoolderwomen who,asAvillezwrote,“livetodressand dresstolive.”Thesedays,sheconsiders herself less a fashion illustrator than anillustratorof @UNSKILLEDWORKER LEFT: HELEN DOWNIE’S INTERPRETATION OF ALESSANDRO MICHELE’S GUCCI RESORT ’17. Instagram three years ago; 220,000 followers later, her illustrations are collected by Alessandro Michele, the Gucci creative director—and, in their touched-by-the-hand quality and their link to an earlier tradition, are even seen as a kind of encapsulation of the Gucci moment. “I love Helen’s work,” Michele says. “Her illustra- tions immediately get me in touch with my inner child—the dreamlike, fairy-tale part of me.” And while Insta-illustration is hap- pening all over the world, a slew of @JOANAAVILLEZ AVILLEZ, A NATIVE NEWYORKER, AT WORK IN TUSCANY. BOTTOM: A WOMAN WITH RANUNCULI. TA L K I N G FAS H I O N >1 8 0 GUCCIRESORT:COURTESYOFHELENDOWNIE.AVILLEZ:NIKLASADRIANVINDELEV.RANUNCULI:COURTESYOFJOANAAVILLEZ. 178 V O G U E O C TO B E R 2 0 1 6 TalkingFashion
- 159. @JOOLEELOREN TOP: A TONGUE-IN-CHEEK SKETCH BYJULIE HOUTS (ABOVE). @ANGELICAHICKS HICKS’S WORK IS EQUAL PARTS CARTOON AND WORDPLAY. fashions, influenced by Maira Kalman, Leanne Shapton, and most especially by the city as performance space. “I’m tickled by what’s happening around me now,”she says. “I think people want something a little more tactile.” Why this new surge in illustration interest? “In an age where everything is completely airbrushed and artifi- cial, it’s really nice to get the hand, and maybe the heart, back into things,” says Julie Houts, a J.Crew designer by day whose private drawings have lately been going public. Houts’s long and smooth (but sometimes scraggly) lines are distant relatives to Jules Feif- fer’s—if Feiffer were, say, 28 and, like Houts, fluent in Prada. Angelica Hicks began conjuring up portraits as a kind of break from exams and thesis-writing during her senior year at University Col- lege London. “It wasn’t like I was sitting down watching Netflix,” she recalls. “I was being productive.” A few months later, she was freelancing, drawing for publications like Porter magazine, with her pieces taking inspi- ration from advertising of the sixties and seventies. “Illustration is really cool because it’s not reality,”she says. “It’s drawn from reality.” Last sum- mer she moved from London, where her father is an architect and interior designer (and second cousin to Prince Charles), to New York—not that any- one knows. Hicks is that rare selfie- free Instagram phenom. She has also yet to find a studio, so in the mean- time she works in cafés and practices her parents’ mantra: “Take in your surroundings!”—ROBERT SULLIVAN “People will do good if you incentivize them” is how Elizabeth Edelman, 28, describes the core ethos of Global Citizen, a nonprofit created to fight extreme poverty in developing nations. Small actions (dozens of which are curated on its Web site) like tweeting at a world leader, signing a petition, or protesting at an embassy can earn you points; earn a certain amount, and you’re rewarded with free access not only to GC’s massive annual music festival—this year’s, on September 24 in Central Park, will feature Selena Gomez, Kendrick Lamar, and Rihanna—but also to partner concerts all around the world. “If we get someone’s attention with the concert,” Edelman says, “they might realize they care about these issues and take even more action.” Edelman, now a vice president of the NGO, discovered it in a serendipitous moment of clarity. “I was sitting in a bar in the West Village,” she recalls, “and I overheard a guy talking about Global Citizen.” At the time, she was working in private equity for a man who, she says, “was not very nice to women,” and was looking for an excuse to leave. She started out donating her free time to working with GC, and after a few months she was hooked. “Action is currency,” she says. “I believe in what I’m selling.”—LILI GÖKSENIN OntheWorldStage BAND AID EDELMAN IN PHILOSOPHY DI LORENZO SERAFINI. TA L K I N G FAS H I O N >1 8 4 STREETSTYLE:COURTESYOFJULIEHOUTS.HOUTS:VANESSAGRANDA.TAMAGUCCI:COURTESYOFANGELICAHICKS. HICKS:DANNYGHITIS.EDELMAN:DAISYJOHNSON.FASHIONEDITOR:EMMAMORRISON. TalkingFashion 180 V O G U E O C TO B E R 2 0 1 6
- 163. TalkingFashion BLOOMS withaViewSandraChoi’sEnglish-countryside home—muchlikeherdesignsforJimmy Choo—isbrimmingwithblossoms. A rose, to a deer, is like caviar,” observes Jimmy Choo cre- ative director Sandra Choi, greeting me at the end of the mile- long,tree-lineddrivetohernewEnglish country home in Upton Cheyney, Gloucestershire. The eighteenth- century stone cottage has become a choice destination for roe deer, led by their surprisingly sophisticated palates to the dense rose borders that encircle the magical property. (The extensive lands surrounding the house, mean- while,include25 acresdevotedtosheep grazing and 30 for an arboretum.) Choi, 43, decamps to the country most Fridays from the Battersea, Lon- don, town house she shares with her GREEN PEACE CHOI SHARES A QUIET MOMENT IN THE HAZELNUT WALKWAYWITH HER DAUGHTER PHOENIX. artist husband, Tamburlaine Gorst, and their two daughters, Phoenix, six, and Cyan, three. Breezily dressed in a Peter Pilotto embroidered cotton dress and Birkenstocks—somehow managing to exude glamorous acces- sibility even in her downtime—Choi has filled the cottage with unexpected and ravishing arrangements of local flowers. With the garden taking center stage, the interior of the house is “a work in progress,” she says, though it retains a welcoming English charm with its sinking mounds of floral up- holstery and fireplaces. Raised in Hong Kong, Choi finds countrylifeanentirelynewendeavor— albeit one she seems to have taken to rather naturally. “These are foxgloves; this is nepeta, BUDDING BEAUTY JIMMY CHOO SATIN CAMOFLOWER- PRINT MULE, $795; JIMMYCHOO.COM.TA L K I N G FAS H I O N >1 87 V O G U E . C O M KASIAGATKOWSKA.SITTINGSEDITOR:SONNYGROO.HAIR, TERRICAPON;MAKEUP,REBEKAHLIDSTONE.SHOE:JOSEPHINESCHIELE. 184 V O G U E O C TO B E R 2 0 1 6
- 166. TalkingFashion which mixes very well with salvia; here are lupines and then echinacea,” she says proudly, guiding me through the latest additions to the borders. There is,however,acharacteristicallymodern Choi twist to the bucolic color riot: “We did it online,” she says. Using the Web site of gardener Claire Aus- tin (daughter of rose specialist David Austin),ChoiandGorstpulledimages they liked and designed everything via Photoshop. “It’s going to be supercol- orful—arhapsodyof pinksandblues,” Gorst says—not unlike the modern silk-screen florals of his wife’s latest resort collection. The kitchen garden is also a collective effort. “The girls are learning where their food comes from, pulling potatoes from the ground,”says Choi before showing off a homegrown roll call to rival the trendiest farmer’s market: bok choy, tomatoes, goose- berries, artichokes, garlic, heritage carrots, Swiss chard, and haricots verts all grow among edible flowers. “The beetroot is amazing roasted, and we’ll make stuffed courgette flow- ers later—I’m getting back to proper cooking,”she says. At the apex of the kitchen garden stands a scarecrow—dressed in clothes from Tamburlaine’s tenure at Kenzo Homme in Paris—above a patch of curly kale (“for juicing,” Choi says). The garden then descends, via a long hazelnut tunnel, from the house into the seclusion of the orchard and the valley. In the afternoon light, we walk toward a beech archway and wander among the plums, pears, Bramleys, and Coxes, a homemade swing sway- ing in the breeze beneath the walnut tree in the corner. The house itself is surrounded by a terraced walkway with far-reaching vistas overlooking the Bath countryside and the most southerly point of the garden, which is to be made into what Choi calls “a low-seated, Ibiza-style chill-out area.” The property’s previous owner cul- tivated thousands of trees, including more than 250 species of oaks—thus laying claim to one of the largest collections of oak trees in the U.K., a heritage Choi is eager to continue. “We recently invested in 80 rare acorns from Taiwan,” she says, leading me into the heated potting shed to show off the germinating specimens. How many species does she hope to add to the collection? “I’ll have to let you know in about fifteen years’time,”she says, smiling.—EMMA ELWICK-BATES COUNTRY MUSE ABOVE: JIMMYCHOO METALLIC LEATHER BAG, $1,595; JIMMYCHOO.COM. TOP RIGHT: CHOI’S ROSE GARDEN ECHOES THE PERENNIALPRINTS FROM THE JIMMYCHOO RESORT COLLECTION. GARDEN VARIETY THE COTTAGE LANDSCAPE INCLUDES AWILD MIX OF FOXGLOVES, LUPINES, NEPETA, SALVIA,AND ECHINACEA. TA L K I N G FAS H I O N >1 8 8 QUEEN OF THE CROP CHOI WEARS A PETER PILOTTO DRESS AND JIMMY CHOO FLATS ($995; JIMMYCHOO.COM). V O G U E . C O M V O G U E O C T O B E R 2 0 1 6 187 KASIAGATKOWSKA.BAG:COURTESYOFJIMMYCHOO.DETAILS,SEEINTHISISSUE.
- 167. ELLIE Bamber FIRE BIRD THE ACTRESS IN RED-HOT CHANEL. Y ou must excuse my hair,”says nineteen- year-old Ellie Bam- ber, pushing back her damp auburn locks. Dressed in only an oversize Calvin Klein T-shirt thrown over her bathing suit, the en- ergeticBritishactressistakingabreak from promoting Tom Ford’s film Nocturnal Animals (page 288) when I reach her via Skype at a villa with her family on Spain’s Costa Brava. Even post-swim, Bamber’s tresses against her pale skin create an Egon Schiele effect—and Ford, meanwhile, seems to be developing a propensity for red- headsakintoHitchcock’sforblondes. Bamber, though, freely admits that the color isn’t natural. “I turned red for the film—but it suits me.” As the on-screen daughter of Jake Gyllenhaal and Isla Fisher, Bamber is brazen, vulnerable, and at the epi- center of the film’s violent story line. “Tom created a safe environment, despite the scary sequence of events,” she says of the perfectionist director, who changed her character’s nail pol- ish after spotting a particular shade on a wardrobe TA L K I N G FAS H I O N >1 9 0 alleyeson V O G U E . C O M PIERRESUU/GCIMAGES/GETTYIMAGES 188 V O G U E O C TO B E R 2 0 1 6 TalkingFashion
- 169. supervisor.Asixteen-weekstintatLon- don’s Old Vic as Dinah in High Society helped prepare her for the stamina of the production, which was further en- hancedbythecamaraderieonset.“Ellie can sing, act—and she has this other- worldly, ethereal beauty,”says Fisher. From her first audition at his Victo- ria offices, Ford immediately spotted Bamber’sfashionflair—“HesaidIhad great personal style; I was done after that!” she says—and she’s since cap- tured the attention of Karl Lagerfeld. “If I’m not hanging out in Supreme or LyzOlko,IlovetodressupinChanel,” she says. “It’s got such a cool edge.” Cool credentials seem to be some- thing that Bamber comes by effort- lessly. Next up: her first indie lead, in Extra Curricular Activities, with Colin Ford and Timothy Simons.—EMMA ELWICK-BATES ATA LINKS OF LONDON EVENT. IN A SAM GREENBERG VINTAGE JACKET, IN GILES DEACON. IN MARKUS LUPFER. Though fashion consultant Kate Foley has lately been more accustomed to lighting up Manhattan, for her nuptials to Suno’s Max Osterweis she gathered her friends from around the globe at the exquisitely restored West Dean Gardens in her home county of Sussex. A collection of Victorian glasshouses and July flora provided the backdrop for Foley’s crisp broderie anglaise Suno dress, set off by her signature red lip. Passionflower vines decorated the tables, where guests sat down to a garden-fresh feast prepared by Tart London— the first wedding for the eco-conscious London caterers, who fulfilled the groom’s wish for a childhood favorite: pineapple upside-down cake. “I have married my best friend,” the charming bride told me, moments before spinning around the dance floor in her second look of the day, a dazzling silver-sequined number by Erdem. —E.E.-B. HEAVEN AND EARTH KATE FOLEYAND MAX OSTERWEIS CELEBRATE UNDER A MAGNIFICENT PERGOLA. RIGHT: SIMPLY LUSH FLORALS. TA L K I N G FAS H I O N >1 92 SONICBloom LONDON:DAVIDM.BENETT/GETTYIMAGES.MARKUSLUPFER:STUARTC.WILSON/GETTYIMAGES.GILESDEACON:RABBANI+SOLIMENE PHOTOGRAPHY/GETTYIMAGES.SAMGREENBERG:MIKEMARSLAND/WIREIMAGE/GETTYIMAGES.SONICBLOOM:CINZIABRUSCHINI,PAOLOMANZI. 190 V O G U E O C TO B E R 2 0 1 6 TalkingFashion
- 171. Whichiswhytherecipeforaioliiscalled“IAlmostAlways Fail.”“It’s totally true!”Tarlow admits. There’s also a week- end-long ragù, an herb-loaded green gazpacho, and morel toast so good you’ll want to befriend a forager. Huling, meanwhile—teaming up with the same nearby farms that supply the restaurants’ grass-fed beef—has just openedMarlowGoods,anEastVillagestorefrontshowcasing herlineof simple,functionalbagsandwalletsinarainbowof vegetable-tanned leathers. There, the growing range includes leather rugs, pillows, and bolsters, which began as prototypes for their Brooklyn brownstone. The twin facets of the family businessinvariablyintertwine:Hulingshotnextseason’slook book inside Diner, and her leather covers the banquettes at theirGreenpointbar,AchillesHeel.“They’veagedsobeauti- fully,”she says.—LAURA REGENSDORF W illiamsburg in 1998 was desolate; we just wanted to open a place where we could all hang out,” Andrew Tarlow says of the inspiration behind Diner, his restaurant—now a neighborhood fixture—born in a vintage Kullman dining car. That New Year’sEve,heandhisthen-girlfriend,KateHuling,convened 20 or so friends to celebrate the first night of service. Never mindthatthegaswasn’tturnedon,orthatyouthoutweighed experience—what they had was a pot of cassoulet so satisfy- ing, it foretold a lifetime rooted in the community of food. “Theintimacyof itallwasinstantlypalpable,”recallsHuling. Eighteen years and four bright-eyed children later, the couplehaveleftanindeliblemarkonBrooklyn’sdiningscene withagroupof influentialrestaurantsandbars(alongwitha provisions shop, bakery, small-press magazine, and partner- shipintheWytheHotel)groundedindeeprelationshipswith staff, with farmers, and with regulars. It’s a family affair in the broadest sense, which Tarlow and co-writer Anna Dunn captureintheirfirstcookbook,DinnerattheLongTable(Ten Speed). The book lays out a trove of recipes, a wide-angle narrative—beginningwithTarlowandHuling’scoupdefoudre while working together at the Odeon in Manhattan—and a philosophy:thatentertainingshouldbefrequentandfearless. “I hope this can inspire people to come together and not be so scared of failing in the process,”he says. ROOTS AND ALL RECIPES LIKE PICKLED EGGS, TINGED MAGENTA WITH LOCAL BEETS, HIGHLIGHT THE HERE AND NOW. TwoBrooklynrestaurateursbring hometheirvisionofthegoodlifewith aleather-goodslineandacookbook. SUNNY SIDE UP LEFT: ANDREW TARLOW AND KATE HULING (IN AN A DÉTACHER DRESS) AT THEIR RESTAURANT MARLOW & SONS. BELOW: THE DINAN BAG BY MARLOW GOODS, $555; MARLOWGOODS.COM. TALKING FASHION>194 FamilyStyle TARLOWANDHULING:LIZBARCLAY.ALLOTHERS:NIKOLEHERRIOTTANDMICHAELGRAYDON. 192 V O G U E O C TO B E R 2 0 1 6 TalkingFashion
- 173. TheNew BLUESMeetthelabelsputtingoutfall’s mostcovetabledenim—sliced, diced,andslightlydistressed. LEAN BACK MODEL LILY STEWARTWEARS NILI LOTAN JEANS, $425; NILI LOTAN, NYC. CALVIN KLEIN COLLECTION TUNIC, $1,595; CALVIN KLEIN COLLECTION, NYC. PACO RABANNE LOAFERS.NILI LOTAN I need those jeans,”my friend Stella says of my dark- wash,slouchystyle—repletewithbuttonsthatclimb the leg—over dinner at the Soho House’s newest location, the Ludlow. Despite some apprehension (I hadn’t donned wide-leg flares since junior high school), I was instantly sold. She tries to guess the label, rattling off a few usual suspects without success. But this pair came from a new and unlikely source—one that’s sure to inspire obsession among denim-heads everywhere. TA L K I N G FAS H I O N >1 9 8 Nili Lotan has always been grounded in realness; the Israeli-born designer built her brand of covetable basics on stripes, slips, and crisp white shirting. Given her highly per- sonalapproachtodressing(Lotanisthefirsttoadmitthatshe designs for herself), it makes sense that she is finally embrac- ing blue as the warmest color. “I’m most at home in a pair of jeans,”she says. But while denim is new to her namesake line, Lotan’s fervor for the fabric runs deep. “As a kid, I begged my dad to drive me to Haifa, where V O G U E . C O M VICKIKING.FASHIONEDITOR:ALEXHARRINGTON.HAIR,ILKERAKYOL;MAKEUP,JENMYLES.PHOTOGRAPHEDINHASTINGS-ON-HUDSON,NY.DETAILS,SEEINTHISISSUE. 194 V O G U E O C TO B E R 2 0 1 6 TalkingFashion
- 177. B orrowing from the boys? Save for a single long-ago skateboarder’s plaid shirt (suddenly very Vete- ments) and the odd attempt to make off with my partner’s cloth- ing,myeffortshavealwaysseemed doomed. Instead of emulating the tomboyish élan of Mica Arganaraz, I manage to look more under the weather than anything. (Or, as my mother might say, “as if you’ve let yourself go.”) Enter Sean Barron and Jamie Mazur, the brains behind the L.A. cult denim brand Re/ Done, who source vintage Levi’s, take them apart, and recut them into contemporary sil- houettes. “Every cool girl we knew wanted to wear vintage Levi’s, and we worked out a way to flatterbodiesnow,”saysBarron.Theduo’strade secret:Thevintagebackpocketsaresignificantly larger than most pockets today, resulting in a beneficial optical illusion. “It makes your behind look much smaller,”says Barron. When Re/Done launched in July 2014 as an e-commerce project with just two designs— straight skinny and modified boyfriend—the first 190 pairs sold out in 20 minutes, with 2,000 people signing on to the waiting list. And the members of the label’s loyal cortege are as glossy as they are devoted. “It’s hard to fall in love with a pair of jeans without trying them on before- hand,”saysactressEmilyRatajkowski,butthat’s exactly what she—along with Beyoncé, Dakota Johnson, Cara Delevingne, and Gigi and Bella Hadid—did.“Everypairfitsdifferently,sofindingapairthat fitsperfectlyfeelsincrediblyspecial,”saysKendallJenner,who owns more than 20 pairs. The way so many stylish women are responding to the brand feels timely. In a moment when real, authentic (yet still fashionable) gestures—the upscale hoodie, the elegant track pant, the bespoke jean—are trumping gilded and overwrought design statements, the desire to deconstruct, reconstruct, and reconsider seems to reflect our ever-more- multidimensional world. Thejeansarerepairedandreassem- bledonricketymachinesfromthe1940sandheldtogetherin part by official Levi’s rivets—the company gave Re/Done its blessing four months into the launch. Now Barron and Ma- zur are working with Hanes to make the perfect shrunken T- shirt and with Champion for rescaled hoodies and sun-faded varsity sweatshirts, while their own brand will soon include patchworked denim pieces, mink-trimmed jackets, and their first “new”jeans, to be called Re/Done Originals. Inspired, I send the duo a challenge: to downsize a pair of my husband’s vintage Japanese selvage 32/32 jeans us- ing the formula at the crux of their business. The husband hasn’t noticed that his jeans have gone AWOL—but will he be able to place them after their L.A. overhaul? A mere 48 hourslater,theFedExfromLosAngelesarrives.Theanswer: No—they’re now revitalized as a straight skinny 25/30 work of art. (Warning re husband’s denim attentiveness: Results may vary.)—EMMA ELWICK-BATES RE/DONE the American sailors came to sell Levi’s,”she recalls. “I lived inmydenimjacketanddidn’tcareabouttheschooluniform.” Cut to Lotan’s blues. The assortment of drop-crotch trou- sers, hip-huggers, and a gently washed utilitarian jacket— which evokes the effortlessly casual instinct that the brand is known for—is laid-back in a way that transcends trends. The best example here, the flirty-yet-unfussy Ena flared fit, with a length of buttons that allow you to reveal a sliver of skin (or not!), promises to put the ease in day-to-evening dressing.Whoknowswhat’snextforLotan—asailorpantin denim, perhaps? “Definitely maybe,”she says, smiling. Until then, I’m taking a walk on the wide side.—RACHEL WALDMAN PIECES OF WORK MODEL LILY STEWARTWEARS A RE/DONE SHERPA-LINED DENIM JACKET ($550) AND HIGH-RISE JEANS ($345); SHOPREDONE.COM. PACO RABANNE TOP, $970; PACORABANNE.COM. TA L K IN G FASH I O N >2 02 VICKIKING.FASHIONEDITOR:ALEXHARRINGTON.HAIR,ILKERAKYOL;MAKEUP,JENMYLES.PHOTOGRAPHEDINHASTINGS-ON-HUDSON,NY.DETAILS,SEEINTHISISSUE. 198 V O G U E O C TO B E R 2 0 1 6 TalkingFashion FOR FASHION NEWS AND FEATURES, GO TO VOGUE.COM
- 181. L ake Starnberg is Bavaria’s fairy-tale spot: deep-green forests, snow-capped Alps, a calm, emerald lake. On a cloudy day the landscape looks romantic—even melancholic—but, boy, does it change when the sky opens up. Sun- light glistens on the water; the whole horizon sparkles.Ourfamilysummerhousefitstheromance:ayellow eighteenth-century folly full of beautiful, hopelessly propor- tionedrooms,eachmorecolorfulthanthelast,withwinding, crooked wooden staircases leading you through. The lake was where we spent our days growing up. When the water was cold, we kept to the wooden dock next to our simple boathouse, spinning fantastical stories about the dan- gerous underwater plants waiting to wrap around our legs anddragusdown.Mymother,aboyscoutatheart,taughtus to water-ski and wakeboard, and had us dragged behind the boat at breakneck speed in twin inflatable doughnuts. Tennis andhorsebackridingwerealsoonthemenu.Anoldercousin one summer brought his mountaineering equipment and thus began a tradition of rappelling out the tower window. These days my summers are a lot less extreme, but my mother and I still take our waterskiing very seriously. And thereisachaoticcomingandgoingof family—uncles,aunts, cousins;youneverquiteknowwhowillappearthroughthose gates. My sister’s little baby girl is the new attraction. If LakeStarnbergisafairytale,thentheAustriancountry- side around Salzburg is a veritable fantasy. The meadows are fluorescent green, the mountain peaks shaped like Toblerone chocolates; even the cows look perfectly checkered. Staying at gallerist Thaddaeus Ropac’s estate, Villa Emslieb, during festival season can feel fantastical too. Days pass as you laze beside his black granite pool, inscribed by the Swiss artist Sylvie Fleury with the fitting instruction to be amazing. Thaddaeus has a knack for mixing up a potpourri of houseguests. Artists, musicians, writers, actors, directors, ar- chitects, younameit—anyonewhoisanyoneandhappens to find themselves around Salzburg will show up for one of his lunches,dinners,orparties.Makesmewonderwherehehides his army of Oompa Loompas to run the show so smoothly. BiancaJagger, anannualhouseguest,wasmyroomieonthis visit. I loved watching her descend from her room deliciously perfumed and decked out in her signature tailored suits or a beautiful Cavalli leopard caftan. One night the young violin- ist Joseph Morag and pianist Riko Higuma spoiled us with Brahms,Rachmaninoff,andTchaikovsky.Othereveningswe weretakentoasymphonyconductedbyDanielBarenboimor arehearsalwithItaliansuperstarconductorRiccardoMuti or the opera for a performance of Mozart’s Don Giovanni. That nightendedwithschnitzelatSalzburg’smostlegendaryhotel, Goldener Hirsch. Being amazing indeed. Alpinegetawaysareforfamily,friends,and extremewatersports.ElisabethTNThitsthe highnotesinGermanyandAustria. TalkingFashion TNT INTO THE BLUE LAKE STARNBERG IN BAVARIA, GERMANY, THE SITE OF MYFAMILY’S SUMMER HOUSE. PICTURE-PERFECT ABOVE:THE SALZBURG CONCERTHALLHASAKOOKY,COOLSIXTIES FLAIR,SO,OFCOURSE,I STAGEDAN IMPROMPTU PHOTO SHOOT. LEFT: UPONARRIVALATTHADDAEUS’S HOUSEWEWENTSTRAIGHT TOTHE POOL,WHICH REMINDED USTO BEAMAZING! WANT MORE OF THE UNEXPECTED? FOLLOW TNT’S ADVENTURES AT VOGUE.COM/TNT. BROUGHT TO YOU BY THE 2017 CHEVROLET MALIBU. COURTESYOFELISABETHTNT 202 V O G U E O C TO B E R 2 0 1 6
- 194. EDITOR: CELIA ELLENBERG Beauty T here are plenty of essentials in Isamaya Ffrench’s “kit,”as the makeup artist refers to themultitieredsuitcasecurrentlyoverflowing in a Hollywood photo studio: cream founda- tions,concealers,mascaras,andanimpressive collection of HD makeup that Ffrench loads intohertrustyairbrushgunwithhabitualease. But the bulk of the contents are less familiar: Kryolan’s wax and latex; a selection of Temptu’s Dura Color, alcohol-based waterproof liquidsthatFfrenchusestomakeprostheticslook “more believable”; and a bountiful supply of clay. “It’s good to mix in for cracking effects and texture,”she says casually. Despite having logged just five years in a highly competi- tive industry, the 27-year-old Ffrench, a petite brunette with clear blue eyes, full lips, and a newly cut chin-grazing bob, has brought her unique brand of beauty to both sides of the camera lately, working with some of the biggest names in fashion—TomFord,MACCosmetics,andthephotographers TimWalkerandMertAlasandMarcusPiggott.Fergieisalso a fan and handpicked Ffrench to give Kim Kardashian and ChrissyTeigenthosemilkmustachesforherhitsummermusic video, “M.I.L.F. $.”“The term makeup artist is too limiting for her,”says Kenzo’s Humberto Leon, who cast Ffrench as a model in the campaign for the brand’s fall Renegademakeupartist ISAMAYA FFRENCH ischangingthebeauty conversationwithherhigh-conceptbrandofoffbeatcool. PERFORMANCE PIECE EXTREME MAKEOVER ISAMAYA FFRENCH, IN A SCHIAPARELLI HAUTE COUTURE BLAZER AND A DELFINA DELETTREZ EARRING. PHOTOGRAPHED BY RAF STAHELIN. SITTINGS EDITOR: LAWREN HOWELL. B E AU T Y>2 16 V O G U E . C O M V O G U E O C T O B E R 2 0 1 6 215 HAIR,CAILENOBLE;MAKEUP,ISAMAYAFFRENCH.DETAILS,SEEINTHISISSUE.
- 195. collaboration with H&M. “She is a photographer, videogra- pher, forward thinker, challenger to beauty norms—and yes, she can also apply makeup in an artistic way.” BorninCambridge,England,Ffrenchtrainedinballetfrom the age of four, exploring contemporary and street-inspired disciplines before joining the Theo Adams Company—an experimentalperformancetroupe—in2010,whileshestudied 3-D and industrial design at London’s Central Saint Martins college. Beyond a sideline painting faces at children’s parties, makeupwasneversomethingFfrenchconsideredpursuingas a profession, though it had always been a part of her periph- ery. “That was a lot of what I enjoyed about dancing—doing other people’s makeup backstage, the character-building and the theater that came with it,”she reveals, recalling the early 1“BiafineisaclassicFrenchstapleforwounds,scarring, andburns,butIuseitasanovernightmask.”2 “TomFord’s TracelessFoundationproducesaslightreflectiveglow.It’salso supersheerandflexible.”3 Ffrench,picturedwithheronce- signaturewaist-lengthlocks.4 “MyClarisonicbrushisthebest skin-careinvestmentI’veevermade!”5 “YvesSaintLaurent’s Anti-CernesMulti-ActionConcealerstickissmallerthanalip balmandcandoubleasanintense,brightnudelipstick.” STRIKE A REPOSE MODEL KENDALLJENNER, IN MAKEUP BY FFRENCH AND A GUCCI DRESS. PHOTOGRAPHED BY MERT ALAS AND MARCUS PIGGOTT. FASHION EDITOR: TONNE GOODMAN. ISAMAYA’SEdit influence of makeup artist Kevyn Aucoin’s lauded 1997 in- structionalbook,MakingFaces,andthesimilarimpactof the graphic images Serge Lutens produced as the artistic director of Shiseido in the eighties. In the end, “beauty is just something that moves you,” Ffrench declares, which might shed some light on her im- pulse to draw a matching red lip and eye outside the lines with a soft-focus blur; or why she feels that adding a clus- ter of idiosyncratic, fake freckles to an otherwise bare face perfectly complements an elongated brow. When Ffrench coated models head-to-toe in blue pigment for an i-D maga- zine shoot with the artist Matthew Stone in 2011, it put her on “a bit of a radar,” she says. Photographers and fashion designers—including Iris Van Herpen, who enlisted Ffrench for her fall couture show—went wild for her ability to mix classicmakeuptechniques withesotericexpressionism, using the face (and often arms, legs, and chest) as a blank canvas. Keeping Ffrench from being pigeonholed as merely trad- ing in shock value are the hyperoriginal looks she creates on herself with the photographer Josh Wilks. The duo’s port- folio, live on Instagram, has helped bring her work to the at- tentionof YSLBeauté,whichnamedheraU.K.ambassador last year, and the director Floria Sigismondi, who recruited FfrenchtocollaborateonRihanna’sstirringlydystopictribal makeup for her IMAX-streamed “Sledgehammer”video. Audience engagement is important to Ffrench. “People are getting a bit bored of seeing normal, basic concepts of beauty,” she suggests, pointing out that a photo carries muchmorecurrencyif theviewercanrelatetoitemotionally. “She sees the beauty in things other people might miss,”says Nick Knight, the photographer and SHOWstudio founder, who compares Ffrench’s eye to that of the late Alexander McQueen—and Pat McGrath. The latter comparison is one that Ffrench will likely start hearing more. In McGrath’s decades-long career, the legend- ary makeup artist has revolutionized runway beauty, helped Rooney Mara win Oscar attention as the bleach-browed Lis- bethSalanderinTheGirlwiththeDragonTattoo,andlaunched herownline.AsFfrench’spotentialisonlystartingtounfold, there’snotellingwhatsurprisesareinstore.—CELIA ELLENBERG Makeup 4 2 31 5 B E AU T Y>2 1 8 JENNER:HAIR,GARRENATGARRENNEWYORKFORR+CO.SETDESIGN,GILLEMILLSFORTHE MAGNETAGENCY.PRODUCEDBYGABRIELHILLFORGEPROJECTS.FFRENCH:COURTESYOFISAMAYA FFRENCH/TUMBLR.PRODUCTS:COURTESYOFBRANDS.DETAILS,SEEINTHISISSUE. Beauty
- 197. S anFrancisco–baseddancerPatriciaWilkinsprides herself on having good skin-care habits: She stays out of the sun, wears SPF 50, and pats on an antioxidant-richserumdaily.ButlastOctober,the 31-year-old’s complexion went haywire. “It was insane,”she recalls of the angry red bumps that materializedonherface.“Ihadneverexperiencedanythinglike it.”The probable culprit, Wilkins discovered, was the switch fromanIUDtoabirth-controlarmimplant,whichdisrupted her hormonal balance. “You think by your 20s you should be done with acne,”she says. “And then you’renot.” Adult acne is fast becoming the new teen acne. In recent years, a surprising 45 percent of women between the ages of 21 and 31 have reported cases, while one in four women between the ages of 31 and 41 is experiencing a similar battle forclearskin.Thestruggleisreal—andit’softenduetoapar- ticular hormonal maelstrom that occurs in our 30s and 40s, explains Eve Feinberg, M.D., a reproductive endocrinologist and fertility specialist at Northwestern University’s Feinberg School of Medicine in Chicago. We produce varying levels of testosterone—the male hormone that bumps up pore- clogging oil production—throughout our entire lifespan, and being on birth control often limits our exposure to it, Feinberg elaborates. “As women come off the pill when they get older, they get acne.” Not all midlife breakouts are caused by hormones, and when they’re not, inflammation is likely to blame, according to Manhattan dermatologist Joshua Zeichner, M.D. “It can trap oil in pores and lead to bacteria,”he says of an internal swellingthatcanbetriggeredbyanything—fromwhatweeat to stress to genetics. “I think you have to consider the big picture,” says Kristina Holey, a Bay Area aesthetician and cosmetic chemist who takes an increasingly popular CONNECTING THE DOTS HOLISTIC PROTOCOLS AND NEW BLEMISH-FIGHTING PRODUCTS TARGET HORMONE FLUCTUATIONS AND ENVIRONMENTALTRIGGERS TO FIGHT ADULT ACNE. UNTITLED HEAD, BY ROY LICHTENSTEIN, 1995. Manywomenbidfarewelltobreakoutsalongwithadolescence.Butaninfluxofadult-acne casesisbringingupbadmemories.KariMolvargoesinsearchofclearanswers. SeeingSPOTS B E AU T Y>2 2 0 SkinCare 218 V O G U E O C TO B E R 2 0 1 6 ROYLICHTENSTEIN.UNTITLEDHEAD,1995.SCREENPRINTONLANAQUARELLE WATERCOLORPAPER.18¾″X219∕16″.©ESTATEOFROYLICHTENSTEIN. Beauty FOR BEAUT Y NEWS AND FEATURES, GO TO VOGUE.COM