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Vogue uk march_2016

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A curated series of artwork by: JUERGEN TELLER, BRUCE WEBER, LIGHTNING by TETSUYA NOMURA & VW of SQUARE ENIX Sold exclusively in Louis Vuitton stores. Tel. 020 7998 6286 louisvuitton.com LIGHTNING
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49 WHAT TO BUY NOW Page 211 EdieCampbellwearssequined chiffoncrepondress,£3,020,Gucci. Getthelook:make-upbyYvesSaint LaurentBeauté.Skin:YSLLeTeint ToucheEclatFoundation,Blush VoluptéinParisienne.Eyes:YSL LuxuriousMascaraforFalseLash Effect,YSLWaterproofEyePencil. Lips:YSLRougeVoluptéinLingerie Pink.Nails:YSLLaLaqueCouture inRoseRomantique.Hairby Label.M:Label.MPliableDefiner. Hair:Christiaan.Make-up:Val Garland.Nails:LorraineGriffin. Production:10-4Inc.Setdesign: JackFlanagan.Digitalartwork: R&D.Fashioneditor:Lucinda Chambers.Photographer: MarioTestino Regulars 78 EDITOR’S LETTER 92 VOGUE NOTICES Behind the scenes of the issue 107 VOGUE.CO.UK What’s online this month 287 CHECKLIST Spring colour comes into bud 397 STOCKISTS BACK PAGE MIND’S EYE JW Anderson’s inspirations In Vogue 143 WHAT’S NEW The people, places, ideas and trends to watch now 157 COVERSTORY DRESS UP, DRESS DOWN Now that casual dressing has gone luxe, shouldn’t dress codes catch up? Fiona Golfar dissects a new dilemma 171 RICH MIX Spring’s elaborate aesthetic is creating a new generation of heirloom buys 181 COVERSTORY TALES OF THE UNEXPECTED Magical combinations to win you street-style fashion points COVER LOOK 191 VIEWPOINT GOLDEN STATE OF MIND Calgary Avansino on how her “kooky” Californian ways became the norm 201 VIEWPOINT BLASTS FROM THE PAST Novelist Laura Barnett describes living with a “curious” – and life-altering – inheritance Vogue Shops 211 WHAT TO BUY NOW Cropped or slouchy, this season’s denim makes everyday dressing easy breezy View 231 BOY DONE GOOD Actor Jack O’Connell talks to Louisa McGillicuddy about taking tips from Jodie Foster and Angelina Jolie 238 VENUS RISING On the eve of a new exhibition, David LaChapelle charts Botticelli’s genius 245 DARKNESS FALLS Novelist Gillian Flynn tells Marisa Meltzer what comes after Gone Girl Spy 255 FLATS SEASON Put a (practical) spring in your step 265 COVERSTORYHIGH FIVE: THE NEW SEASON TRENDS From sleek sports to Latina colour, introducing the looks you’ll invest in 278 BE INSPIRED Military orders from our fashion shoot 280 COMPETITION VOGUE TALENT CONTEST 2016 Calling all young writers MARCH 2016 >64 “The only way to wear Alexander Wang’s souped-up track pants and bomber is with lashings of attitude” CAMPBELL’S COUP, PAGE 296 insideVOGUE
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64 Features 340 COVERSTORY ROYAL VARIETY For consistent sartorial excellence, no one comes close to the Queen. Drusilla Beyfus charts 90 years of regal style 348 KING OF THE HILLS Fashion mogul Leon Max says there’s no place like home. Elizabeth Day visits him in Hollywood to find out why. Photographs by Peter Ash Lee 366 OUT OF THIS WORLD Four women tell Sarah Harris how they developed their enviable taste. Photographs by Philip Sinden 374 GIVE AND TAKE Is the sharing economy for everyone? Communal refusenik Christa D’Souza takes on her toughest assignment yet. Illustration by Natasha Law Fashion 296 COVERSTORY CAMPBELL’SCOUP Edie Campbell comes from the best tradition of English roses – complete with a dash of eccentricity, says Fiona Golfar. Photographs by Mario Testino 312 GAME, SET, MATCH Graphics plus florals plus sportif is a combination made for the winner’s podium. Photographed by Craig McDean 326 COUNTRY LIFE Vogue’s rural romance takes sartorial advice from Thomas Hardy’s heroines. Photographs by Alasdair McLellan 354 ABSOLUTE BEARING Attention! Spring’s military style has a distinctly naval bent. Photographs by Josh Olins Beauty 379 RAINBOW EYES Multicoloured make-up made a splash on the catwalks. Nicola Moulton reports 384 ONE-SHEET WONDERS Sheet masks are the new beauty buzz. Lottie Winter finds seven of the best 386 BROW STUDY Fuller brows are back – but Lauren Murdoch-Smith is a long-time fan 391 WOOD WORK The new bunch of rose scents feature warm woody notes. By Lottie Winter 393 MARC’S MANIFESTO Marc Jacobs on the process of creating his new make-up line – as tried and tested by the designer himself 394 TAKE A SHINE Can you get a gel manicure at home? Vogue tests the kits that say you can insideVOGUE SUBSCRIBE TO Turntopage232for our fantastic subscription offer,plusfreegift “Marc Jacobs’s workaday raincoat gets a ceremonial update via a pearl- studded brooch” ABSOLUTE BEARING, PAGE 354 WOOD WORK Page 391 OUT OF THIS WORLD Page 366
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The rich mood of the new season on the catwalk, top, and, above, modelled by Edie Campbell (page 296). Above right: Craig McDean gets sporty on page 312. Right: Jean Campbell is photographed by Alasdair McLellan on page 326 O ur choice of cover star this month was informed by the spring/summer catwalk shows last year. More than ever, this season has a strong message – one of individuality, craftsmanship and idiosyncrasy. All those qualities are famously epitomised by British creativity, so who better to showcase the prevailing mood than home- grown beauty Edie Campbell (see page 296) – a model who, no matter which way she is styled,never becomes a catwalk cookie-cutter figure, but retains her own look. Although many of the London designers are great exemplars of this move towards a precious, almost one- off feel (take the prairie laces of Erdem, the rich embroideries of McQueen, the delicate fabrics of Simone Rocha), it was a trend that was by no means confined to Britain. From designers’ studios worldwide came an exotic blend, as Ellie Pithers outlines in her article “Rich Mix”(page 171).Gucci’s Personal EFFECTS 78 VALENTINO ERDEM ALEXANDER McQUEEN CRAIGMcDEAN;MARIOTESTINO;ALASDAIRMcLELLAN;JASONLLOYD-EVANS;MITCHELLSAMS Editor’sletter
Clockwise from below: the Queen’s inimitable style (page 340), as seen in 1979, 1951 and 1948 (with Princess Margaret); Vogue navigates the new dress codes on page 157, from Alexa Chung’s carefree style to catwalk formality Alessandro Michele was certainly one of the most celebrated exponents of this haute-heirloom style, but so too were Maria Grazia Chiuri and Pierpaolo Piccioli at Valentino, Miuccia Prada, and LouisVuitton’s Nicolas Ghesquière (albeit, in the latter case, with a harder- edged spin). All created beautiful clothes that will be the influencers of how we dress this summer. One woman who has successfully remained immune to the sensibilities of the catwalk is Her Majesty the Queen. Instead she has forged an inimitable style of her own, which demonstrates as deliberate and clear a vision of how she wants to present herself as any fashion figure. As a woman who has spent the majority of her life in the public eye, she has developed a relationship with clothes that shows enjoyment in the act of dressing as well as an element of armour for the role of figurehead. Drusilla Beyfus, herself a close contemporary of the Queen, visited the curator of the forthcoming exhibition of her clothes that will be shown around the country and got a look into the treasures that will be displayed. In “Royal Variety” (page 340), she describes how HM’s style has evolved during her life and reign, and offers up some fascinating observationsonhowshehasmaintained her unique grandeur. Style is an evergreen subject. Often difficult to pin down and always open to personal interpretation, good style manages to be both transcendent of fashion and absolutely of the moment. We talk about it often in the Vogue offices, and for this issue I asked Fiona Golfar to look at the question of what is considered smart dress now (see page 157). Of course, what she discovered is that the definition is more slithery than ever. Although we profess to not particularly care about dress codes, I for one have noticed a resurgence in dress-code guidelines on party invitations. In London – where expensive private members’ clubs are springing up weekly – there is certainly a tendency towards demanding dress decrees. When Dior launches a range of crystal-studded trainers, and Givenchy evening- wear resembles scraps of lingerie, where does that leave us as we navigate the sartorial maze? Although no longer a question of short or long, hats or gloves, chic dressing for special occasions will always be in demand, even if now satin jogging pants might be appropriate. But that’s what’s great about fashion – it keeps moving on, as do we along with it. DELPOZO GUCCI JASONLLOYD-EVANS;MITCHELLSAMS;GETTY;BARON/ CAMERAPRESS;HULTON-DEUTSCH/CORBIS;FEATUREFLASH 80 EDITOR’S letter
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ALL ABOUT THIS MONTH’S ISSUE PETERASHLEE;PATRICKDEMARCHELIER; DAVIDLACHAPELLE CHICAGO BLUES Marisa Meltzer met novelist Gillian Flynn at Chicago’s Public Hotel for this issue (page 245), where the globe-light installation in the Pump Room restaurant, below, attracts a glittering crowd. But the Gone Girl author normally frequents a more low-key spot in the Windy City: “My favourite restaurant in all of Chicago is a small French place called Aquitaine.” 92 VOGUEnotices Designer Leon Max gives Elizabeth Day a guided tour of Castillo del Lago, his nine-bedroom mansion in the Hollywood Hills, on page 348. Max isn’t the first stylish occupant of the Mediterranean-style villa – for a 1989 issue of American Vogue, photographer Patrick Demarchelier captured the house’s owner, Madonna, striking a pose in her living room, above – the Material Girl’s brother had just decorated the house for her in less than a fortnight. KING OF THE CASTLE RENAISSANCE MAN Ahead of the VA’s Botticelli Reimagined show (March 5 to July 3), David LaChapelle traces the Renaissance master’s influence on his own work, from portraits in New York’s East Village to his famous recreation of The Birth of Venus (page 238). For his latest project, the Aristocracy series, below right, the photographer’s inspiration returns to the 21st century, as he turns his gaze to aviation: “I’m fascinated by today’s private-jet class and the separate world they inhabit from the rest of us.” A fine romance Laura Barnett considers the migraine gene in “Blasts from the Past” on page 201.The Versions of Us author has topped bestseller lists with her romantic debut novel – but which literary love stories have a place on her own bookshelves? “My favourites are those that turn the usual conventions upside-down – books like The Time Traveler’s Wife by Audrey Niffenegger, One Day by David Nicholls and, particularly, Breathing Lessons by Anne Tyler – probably my favourite novel ever.” 1989 2016
BRUCEWEBER;JASONBELL;DARRENGERRISH 94 VOGUEnotices Hardy perennial Jean Campbell, right, took on the role of a Thomas Hardy heroine in Alasdair McLellan’s “Country Life” (page 326). “We were inspired by Far from the Madding Crowd and Tess of the d’Urbervilles,” says Vogue’s Kate Phelan. “Jean was the only girl who could capture the romance of those narratives.” Raised on the Cawdor estate in the Highlands of Scotland, the 18-year-old model has fashion pedigree; her mother, Isabella Cawdor, once worked as a stylist alongside fashion director Lucinda Chambers. Christa D’Souza dips her toe into the “sharing economy” for “Give and Take” (page 374). Tap into this burgeoning industry with Vogue’s guide to the best sites and apps • Echoapplication.com: act the DJ while curating playlists for other music lovers • Borrow My Doggy: borrow a neighbour’s four-legged companion for a stroll • Lovehomeswap.com: trade your flat for an Irish cottage or Provençal villa •Vrumi.com: dubbed the daytime Airbnb of office space • Impossible.com: Lily Cole’s social network where users can gift acts of kindness SHARING IS CARING As the Vogue editors prepare for the autumn/winter shows this month, we look back at the team’s distinguished shuttle from last season: a canary-yellow G-class Mercedes, which dropped its fashionable cargo (from left, Nura Khan, Julia Hobbs, Emily Sheffield and Sarah Harris) at 50 shows and 23 presentations over five days. BIG YELLOW TAXI Queen’s gambit Drusilla Beyfus, above, charts the Queen’s style evolution in “Royal Variety” on page 340.The etiquette writer and journalist first met HM while attending a garden party at Buckingham Palace in the late Nineties. What did the politesse expert wear to the royal gathering? “A silk print frock by Dries Van Noten and low heels – a must in view of protecting the green lawns.”
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Whatever your preferred social-media channel, be sure to get the latest news from Vogue first by following us on Instagram, Facebook, Twitter, Tumblr, Google+ and Youtube. Just search for BRITISH VOGUE and MISS VOGUE and join the club. Vogue 100: A Century of Style opens at the National Portrait Gallery on February 11, showcasing 100 years of remarkable photography. Follow us on Instagram – @BritishVogue – for daily glimpses inside the archives with our #Vogue100 posts. Hot shots ARTS LIFESTYLE Alexa Chung returns to Vogue Video screens this month with the latest installment of her Future of Fashion series. Play catch-up and revisit season one in full at Vogue.co.uk/voguevideo Take two VOGUE VIDEO Make Vogue.co.uk your go-to destination for all the fashion inspiration you could possibly need: you’ll find instant shopping edits, celebrity style hits and weekly guides to the season’s must-know trends. Step it up TRENDS GOOD SHOW! Visit Vogue. co.uk this month for your 360-degree guide to the autumn/winter 2016 catwalks. As Fashion Week begins in New York and travels through London, Milan and ultimately Paris, the Vogue team will report daily with galleries of every look from every show, as well as city guides, street- style updates and backstage beauty trends, plus the definitive Vogue verdicts on the season’s most talked about collections. CORINNEDAY;GETTY;JASONLLOYD-EVANS FOR THE WIN February plays host to the year’s most anticipated film and music award shows: the Baftas, the Grammys, the Brits and, lastly, the Oscars, on the 28th. As soon as 2016’s roll-call of nominees hit the red carpet, we’ll be reporting on the sartorial talking-points. Vogue.co.uk/spy 107
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ALEXANDRA SHULMAN EDITOR-IN-CHIEF CREATIVE DIRECTOR JAIME PERLMAN DEPUTY EDITOR EMILY SHEFFIELD MANAGING EDITOR FRANCES BENTLEY FASHION DIRECTOR LUCINDA CHAMBERS EXECUTIVE FASHION DIRECTOR SERENA HOOD SENIOR CONTRIBUTING FASHION EDITORS KATE PHELAN, JANE HOW FASHION BOOKINGS EDITOR ROSIE VOGEL-EADES STYLE EDITOR NURA KHAN FASHION ASSISTANTS FLORENCE ARNOLD, BEATRIZ DE COSSIO FASHION BOOKINGS ASSISTANT KATIE LOWE SENIOR FASHION COORDINATOR PHILIPPA DURELL JEWELLERY EDITOR CAROL WOOLTON MERCHANDISE EDITOR HELEN HIBBIRD CONTRIBUTING FASHION EDITORS FRANCESCA BURNS, BAY GARNETT, KATE MOSS, CLARE RICHARDSON FASHION FEATURES DIRECTOR SARAH HARRIS FASHION NEWS EDITOR JULIA HOBBS FASHION FEATURES EDITOR ELLIE PITHERS SHOPPING EDITOR NAOMI SMART BEAUTY HEALTH DIRECTOR NICOLA MOULTON DEPUTY BEAUTY HEALTH EDITOR LAUREN MURDOCH-SMITH BEAUTY ASSISTANT LOTTIE WINTER FEATURES EDITOR SUSIE RUSHTON EDITOR-AT-LARGE FIONA GOLFAR COMMISSIONING EDITOR VIOLET HENDERSON ACTING COMMISSIONING EDITOR HANNAH NATHANSON FEATURES ASSISTANT LOUISA MCGILLICUDDY ART DIRECTOR FELIX NEILL ASSOCIATE ART DIRECTOR RASHA KAHIL ART EDITOR JANE HASSANALI PICTURE EDITOR MICHAEL TROW DEPUTY PICTURE EDITOR RACHEL LUCAS-CRAIG PICTURE RESEARCHER BROOKE MACE ART COORDINATOR BEN EVANS ASSOCIATE PRODUCER VENETIA VAN HOORN ALKEMA TABLET MOBILE PRODUCER LEE WALLWORK ART PRODUCTION ASSISTANT PHILIP JACKSON CHIEF SUB-EDITOR CLARE MURRAY DEPUTY CHIEF SUB-EDITOR HELEN BAIN SENIOR SUB-EDITOR VICTORIA WILLAN SUB-EDITOR STEPHEN PATIENCE SPECIAL EVENTS EDITOR SACHA FORBES PERSONAL ASSISTANT TO THE EDITOR CHARLOTTE PEARSON EDITORIAL ASSISTANT ELIZABETH WHITE PARIS COORDINATOR SIGRID LARRIVOIRE VOGUE.CO.UK EDITOR LUCY HUTCHINGS ASSOCIATE DIGITAL DIRECTOR EMILY SHEFFIELD DIGITAL PICTURE EDITOR TIM KNOWLES NEWS EDITORS LAUREN MILLIGAN, SCARLETT CONLON BEAUTY EDITOR LISA NIVEN DIGITAL EDITORIAL ASSISTANT KATIE BERRINGTON MISS VOGUE ASSISTANT NAOMI PIKE CONTRIBUTING EDITORS LISA ARMSTRONG, CALGARY AVANSINO, LAURA BAILEY, ALEXA CHUNG, CHRISTA D’SOUZA, TANIA FARES, NIGELLA LAWSON, ROBIN MUIR, CHARLOTTE SINCLAIR, PAUL SPIKE, NONA SUMMERS EDITORIAL BUSINESS MANAGER REBECCA SPRY ACTING EDITORIAL BUSINESS MANAGER CAMILLA FITZ-PATRICK SYNDICATION ENQUIRIES EMAIL SYNDICATION@CONDENAST.CO.UK DIRECTOR OF EDITORIAL ADMINISTRATION RIGHTS HARRIET WILSON INTERNATIONAL PERMISSIONS MANAGER ELEANOR SHARMAN Fashion Certificate Fashion Foundation Diploma Intensive Summer Course Miss Vogue Weekend Courses PLUS One Week courses in Journalism, Styling and Business www.condenastcollege.co.uk To find out more and apply visit: Based in the heart of central London the Condé Nast College of Fashion Design is now offering a two year BA Honours Degree in Fashion Communication. Our other inspiring courses include the:
130 STEPHEN QUINN PUBLISHING DIRECTOR SENIOR ACCOUNT DIRECTOR SOPHIE MARKWICK SENIOR ACCOUNT MANAGER LEANDA MCCONNELL SENIOR ACCOUNT MANAGER LEXY BARTON DIGITAL ACCOUNT DIRECTOR CHARLOTTE HARLEY ACTING DIGITAL ACCOUNT MANAGER MATILDA McLEAN BUSINESS MANAGER JESSICA FIRMSTON-WILLIAMS PA TO THE PUBLISHING DIRECTOR DEVINA SANGHANI ACTING ADVERTISING ASSISTANT CHARLOTTE SUTHERLAND-HAWES FASHION ADVERTISEMENT DIRECTOR (EUROPE) SUSANNAH COE ACTING SENIOR ACCOUNT MANAGER (EUROPE) CLARA SCANDELLA ASSOCIATE PUBLISHER US SHANNON TOLAR TCHKOTOUA US ACCOUNT MANAGER KERYN HOWARTH HEAD OF PARIS OFFICE HELENA KAWALEC ADVERTISEMENT MANAGER (FRANCE) FLORENT GARLASCO REGIONAL SALES DIRECTOR KAREN ALLGOOD REGIONAL ACCOUNT DIRECTOR HEATHER MITCHELL REGIONAL ACCOUNT MANAGER KRYSTINA GARNETT EXECUTIVE RETAIL EDITOR VIRGINIA CHADWYCK-HEALEY DEPUTY RETAIL EDITOR TATIANA HAMBRO DEPUTY PROMOTIONS DIRECTOR POLLY WARRICK ACTING PROMOTIONS MANAGER KATHERINE PITCHER PROMOTIONS ART DIRECTOR DORIT POLLARD ACTING PROMOTIONS ART DIRECTOR ABIGAIL VOLKS ACTING PROJECT MANAGER MAJA HAVEMANN CLASSIFIED DIRECTOR SHELAGH CROFTS CLASSIFIED SALES MANAGER SARAH BARON DEPUTY CLASSIFIED SALES MANAGER ROYA FARROKHIAN SENIOR CLASSIFIED SALES EXECUTIVES SARAH HAWKINS, NATALIE MOSS-BLUNDELL, OLIVIA OSBORNE, HARRIET BUTLER, EMMA WILLEY, ZOE GAUNTLETT CLASSIFIED SALES EXECUTIVE JENNA COLLISON HEAD OF DIGITAL WIL HARRIS DIGITAL STRATEGY DIRECTOR DOLLY JONES DIRECTOR OF VIDEO CONTENT DANIELLE BENNISON-BROWN MARKETING DIRECTOR JEAN FAULKNER DEPUTY MARKETING AND RESEARCH DIRECTOR GARY READ ASSOCIATE DIRECTOR, DIGITAL MARKETING SUSIE BROWN MEDIA RESEARCH MANAGER HEATHER BATTEN GROUP PROPERTY DIRECTOR FIONA FORSYTH CONDE NAST INTERNATIONAL DIRECTOR OF COMMUNICATIONS NICKY EATON DEPUTY PUBLICITY DIRECTOR HARRIET ROBERTSON PUBLICITY MANAGER MELODY RAYNER ACTING PUBLICITY MANAGER RICHARD PICKARD CIRCULATION DIRECTOR RICHARD KINGERLEE NEWSTRADE CIRCULATION MANAGER ELLIOTT SPAULDING NEWSTRADE PROMOTIONS MANAGER ANNA PETTINGER SUBSCRIPTIONS DIRECTOR PATRICK FOILLERET DIGITAL MARKETING MANAGER SHEENA CHANDNANI MARKETING PROMOTIONS MANAGER MICHELLE VELAN CREATIVE DESIGN MANAGER ANTHEA DENNING PRODUCTION DIRECTOR SARAH JENSON COMMERCIAL PRODUCTION MANAGER XENIA DILNOT SENIOR PRODUCTION CONTROLLER EMILY BENTLEY SENIOR PRODUCTION COORDINATOR KARENINA DIBBLE COMMERCIAL SENIOR PRODUCTION CONTROLLER LOUISE LAWSON COMMERCIAL AND PAPER PRODUCTION CONTROLLER MARTIN MACMILLAN COMMERCIAL PRODUCTION COORDINATOR JESSICA BEEBY FINANCE DIRECTOR PAMELA RAYNOR FINANCIAL CONTROL DIRECTOR PENNY SCOTT-BAYFIELD HR DIRECTOR HAZEL MCINTYRE DEPUTY MANAGING DIRECTOR ALBERT READ NICHOLAS COLERIDGE MANAGING DIRECTOR PUBLISHED BY THE CONDE NAST PUBLICATIONS LTD, VOGUE HOUSE, HANOVER SQUARE, LONDON W1S 1JU (TEL: 020 7499 9080; FAX: 020 7493 1345). DIRECTORS JONATHAN NEWHOUSE, NICHOLAS COLERIDGE, STEPHEN QUINN, ANNIE HOLCROFT, PAMELA RAYNOR, JAMIE BILL, JEAN FAULKNER, SHELAGH CROFTS, ALBERT READ, PATRICIA STEVENSON JONATHAN NEWHOUSE CHAIRMAN AND CHIEF EXECUTIVE, CONDE NAST INTERNATIONAL ADVERTISEMENT DIRECTOR LUCY DELACHEROIS-DAY ASSOCIATE PUBLISHER SALLIE BERKEREY Enter our new home for original short films, series and documentaries, and gain exclusive access into the glamorous world of Vogue VOGUE.CO.UK/VOGUEVIDEO D ON’T MISS •••••••• ••••••••• ••••••• ALEXA CHUNG’S FUTURE OF FASHION SERIES ALASDAIRMcLELLAN
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JASONLLOYD-EVANS;GETTY when Karl Lagerfeld transformed the Grand Palais into Terminal 2C of the Paris Cambon airport for Chanel’s spring/ summer ’16 show, he raised the bar on globetrotting style. Chanel Airways, departing from Gate No 5, demands paparazzi-proof sunglasses and a “Coco Case” (the new trolley bag). “We travel more and more. So why shouldn’t there be Chanel luggage?” says Lagerfeld. Functional, timezone-switching luxury fashion is now big business, with designers opting for a sharper, retro-tinged look. Prada showcases the appeal of the air-hostess skirt suit, while Gucci has revived the old-school monogram suitcase. Both could be straight off the pages of The Art of Flying (Assouline, £115). Perfect for today’s jet set, who hail their private jets using Fly Victor, the app that can have you in the air as little as four hours later. Choupette can come too, thanks to their “pets on jets” policy. PIECE OF HER HEART Janis Joplin’s tragically short life story makes for both cheering and heartbreaking viewing in Amy Berg’s documentary, Janis: Little Girl Blue, narrated by Cat Power. With access to Joplin’s most intimate letters, it’s the ultimate celebration of her storming voice, sexual magnetism and flamboyant style. From February 5 THE PEOPLE, PLACES, IDEAS AND TRENDS TO WATCH NOW NEW What’s Edited by JULIA HOBBS CHANEL Flight MODE PRADA GUCCI CHANEL RESIN AND METAL BROOCHES, £338 EACH inVOGUE 143
GETTY;MIRRORPIX;REXFEATURES never been much of a “club” person? You might be persuaded otherwise. London’s traditional- members’-club scene is undergoing a revival. The revamped Mark’s Club in Mayfair attracts a chic crowd who adore the upholstery as much as the punchy cocktail list. (Act like a regular – no one leaves without petting the club dog.) Wine-lovers have 67 Pall Mall, which is dedicated to oenophiles, while the Devonshire Club, a converted Regency warehouse in the City, has a blow-dry and nail bar and a Pilates studio. Should you want to make your club a home, the Arts Club in Dover Street has 16 hotel rooms, including a penthouse suite. Get on the waiting lists now. HN Rewind to Glastonbury 1995, and button your denim jacket all the way – the Oasis dress code of tracksuit, parka and bucket hat is back for summer, thanks to director Mat Whitecross’s forthcoming, as yet untitled film. ROLL with it MARK’S CLUB VERSACE WESGORDON SAINTLAURENT LIKE A CHARM Start hinting now about that last-minute Valentine’s gift – a diamond-encrusted amulet by jeweller Diane Kordas. Fill it with your own scent or a lover’s (Kordas’s contains Omnia Améthyste by Bulgari) and keep it with you wherever you go. Gold and diamond perfume amulets, from £2,850 each, Dianekordasjewellery.com s CLUB RULES ALEXANDERWANG 145 inVOGUE
MAKE-UP:FLORRIEWHITE.RUTHWEARSJACKET,SAINTLAURENTBYHEDISLIMANE.DRESS,ALEXANDERMcQUEEN.JASONLLOYD-EVANS;MITCHELLSAMS h aircuts often invite comment, but few have elicited such a change of fortune as model Ruth Bell’s buzzcut. Like her twin sister May (who is also a model), the 19-year-old was formerly the owner of a waist-length, honey-coloured mane, until photographer David Sims suggested she shave her head for an Alexander McQueen campaign. When hairdresser Paul Hanlon chopped off her plait, Ruth’s agent was in tears. “She was panicking that this was about to ruin my career,” says Ruth, who went on to donate her hair to the Prince’s Trust to make wigs for children undergoing chemotherapy. Fast-forward six months, and that half a centimetre of hedgehog hair has propelled Ruth into the modelling spotlight. At the spring/summer ’16 shows, she walked for Gucci, Lanvin, and Versace; this season she stars in the Burberry campaign alongside her twin, who, while having eschewed catwalk work, has by no means been left behind. “We have been casting for Burberry for three years and finally got it,” says Ruth. This time around, the shaven head is softer than the spiky, punky versions sported by Annie Lennox in her Eurythmics days or Eve Salvail, Nineties muse of Jean Paul Gaultier. It isn’t meant to be an aggressive style statement – temper the look with a flyaway floral dress or a conservative cashmere sweater and a dewy complexion. The trend is gaining momentum: a swathe of baby-faced pin-ups have followed Bell’s lead. Kris Gottschalk buzzed her hair at the request of Riccardo Tisci for the Givenchy show, as did Louis Vuitton favourite Tamy Glauser, and twins Camilla and Giulia Venturini, who modelled for Tod’s. But does Bell’s mother approve? “No. My mum was definitely shocked and still dislikes it!” she laughs. EP THE BUZZ ON THE FASHION CIRCUIT? MODEL RUTH BELL’S FEARLESS HAIRCUT “My agent panicked that this would ruin my career” Ruth Bell. Photograph: Matthew Eades. Sittings editor: Lucy Bower Above: twins Camilla and Giulia Venturini. Below: Ruth Bell at Lanvin s/s ’16. Below left: Kris Gottschalk LANVIN CROPcircle 146 inVOGUE
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THESE BOOTS ARE MADE FOR WALKING Cowboy boots are back, minus the boho tagline. The new, slick offerings look best with Céline’s lingerie evening dress. This isn’t a vintage moment – buy box-fresh and keep them in mint condition. JAIMEPERLMAN;JASONLLOYD-EVANS;AVENUE3;ISTOCK Concrete JUNGLE “I’ve always wanted to live in a house like the Eameses did in the Sixties,” says Sophie Hulme of her indoor “jungle”.The handbag designer is not alone. Decorating with giant banana plants and palms is garnering a high-fashion following. Be inspired by Erdem’s and Céline’s Mayfair boutiques and go green with low maintenance, large-scale tropical flora. For designer Serafina Sama of Isa Arfen, it’s all about the Kentia palms, an essential part of the “decadent throwback” decoration of her Bayswater home. Start your collection now. The regeneration game Clapton, Forest Gate… Piccadilly? The regeneration game is now being played in central London’s tourist corridor. “It’s going to be progressive,” says Anthea Harries, of the Crown Estate. Dover Street Market relocates to Burberry’s former HQ in Haymarket this March. Expect the top-floor Rose Bakery to become the centre of gossip-trading for London’s fashion scene. The jewel in the crown of the Estate’s 10-year renewal plan, however, is St James’s Market – a collection of independent dining spots launching this month. Banana plants in Céline’s Mount Street store Peace lilies in the studio of Isa Arfen designer Serafina Sama Vogue creative director Jaime Perlman favours fig trees and palms A lush alocasia at the Erdem boutique on South Audley Street CELINE PAULJOE COACH PHILOSOPHYBY LORENZOSERAFINI LOUISVUITTON 148 inVOGUE
FEATUREFLASH;GETTY FROM RIPPED JEANS AT CLARIDGE’S TO JEWELLED TRAINERS IN THE BOARDROOM, IS IT TIME TO RETHINK THE RULES ABOUT WHAT “SMART” MEANS? FIONA GOLFAR INVESTIGATES i don’t know what to wear!” I hear it all the time. From weddings to weekends, boardrooms to black tie, it’s a sartorial minefield out there. The good news is that there are no rules any more; the bad news is that working out appropriate dress codes can now seem more complicated than cracking Fermat’s Last Theorem. Gone are the days of dark tailored suits in the boardroom, of black tie London’s chicest bar, the Fumoir in Claridge’s, a dimly lit jewel box with deep burgundy leather-lined walls. Both times, the women I met were wearing highly fashionable, blindingly expensive ripped jeans, and on both occasions the adorable albeit embarrassed staff told us that ripped jeans were not “encouraged”. They were far too polite to ask us to leave, but the message was clear. Dress UP,dressDOWN meaning a long dress, and if you happen to be asked to something as quaintly old-fashioned sounding as “drinks”, what exactly – I ask in the name of fashion – is one supposed to wear between 6pm and 8pm,especially if coming from the office? We live in a brave new world, or so we are told. We can wear what we like. But is that true? Twice recently I’ve met friends after work for cocktails in Alexa Chung wearing Erdem Leandra Medine in Rosie Assoulin Summer wedding Miroslava Duma in Delpozo separates Cocktail now The new nine- to-five inVOGUE 157
Here’s another problem. Chanel, Miu Miu, Valentino, Céline and Dior have all told us we can wear their skate shoes and decorated trainers with our equally high-end fashion purchases – a real winner in terms of a style message, but try getting a twinkling-trainered tootsie through some of Britain’s smartest doors. The Dorchester and the Ritz both have strict dress codes: no jeans, trainers or sportswear.So too,the newly reopened Mark’s Club or 5 Hertford Street, London’s chicest members-only clubs; the women working at the latter are dressed in taffeta frocks. Taffeta! The crunching sound of which I haven’t heard since 1987. Meanwhile, upon organising “drinks” at Annabel’s, an email pinged in to remind me what won’t be acceptable. The roll-call includes leather or suede, T-shirts, leggings, officewear, trainers, deck shoes, casual or cowboy boots – all of which makes up roughly 80 per cent of my wardrobe. Someone out there needs to have a rethink. Once, the rules were clear. 1. A figure-flattering LBD took you almost anywhere (but how old-fashioned does that idea feel now?). 2. Wear gloves to town. 3. Take your watch off in the evening. 4. Matching bags and shoes are good.5.Long – and often velvet – is appropriate when changing for dinner in smart country houses. And so on. Role models also helped us along the way. They helped us to visually make sense of the way we dressed for occasions. Grace Kelly epitomised the perfect princess bride; her wedding in 1956 was watched by 30 million people aroundtheworldandherstyleemulated by women everywhere. Years later, Carolyn Bessette Kennedy ushered in a new kind of chic at her 1996 wedding, changing the mode of dress for a generation; no lacy tiered-cake confection – instead, a simple strappy bias-cut silk-crêpe gown by Narcisco Rodriguez. She wore flat Manolo Blahnik sandals, her hair pulled back into a loose knot. Not what you would expect from America’s new princess. Kennedy had rewritten the rules and set the bar for the seemingly effortless style (nothing ever really is) of the Lauren Santo Domingos of today. Vogue’s guide to the new dress codes Wedding Try getting a twinkling- trainered tootsie through Britain’s smartest doors A sundress brimming with personality – and with the power to go from day to night – is a winner for weddings in warmer climes For formal weddings that require tailoring, opt for a retro-style skirt Yes, you can wear black to a wedding: head to toe or partnered with a white skirt The LBD is still a chic option. Rule of thumb: the simpler the silhouette, the better quality the fabric must be TIPS What’s SMART NOW Lurex trouser suits, plunging blouses and trailing scarves say Seventies glamour, ideal for decadent nights that go into the small hours Cocktails Mine’s a Cosmopolitan: architectural lines in monochrome work for bar- hopping urbanites A traditional gown speaks volumes; avoid black, a lighter colour is more youthful and ribbons are the flourish of the season Black tie You can wear short – as long as it’s a knee- length style with a couture sensibility For the woman who wears the trousers, a skinny black style partnered with a trophy blouse resets the agenda DELPOZO OSCARDE LARENTA LANVIN ALTUZARRA DOLCEGABBANA GUCCI HERMES RODARTE STELLAMcCARTNEY JASONLLOYD-EVANS;MITCHELLSAMS 158 inVOGUE
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JASONLLOYD-EVANS;PAULBOWDEN;GETTY This side of the pond, our own Diana, Princess of Wales, shrugged off her Sloane Ranger frilled collars and started to play with fashion for formal occasions, much to the delight of the designers of the day Catherine Walker, Caroline Charles, Bruce Oldfield, even Gianni Versace. The message was that one could be more relaxed and informal. Although we think of them as old- fashioned, rules were often helpful. We knew where we were. Now we are supposed to be thrilled that we can “dress as we like”, but we don’t always have the answers. When it comes to being smart, we often have to decipher exactly what that means. Designers and consumers look to street style on Instagram for inspiration. This is Britain, and we have always had a playful relationship with fashion. Alexa Chung, Miroslava Duma and Dasha Zhukova share the way they dress for work, parties and the red carpet on their posts. Would Alexa wear a long dress to a black-tie affair? Yes,of course; she’s often photographed in romantic full-length Erdem or Valentino gowns, but equally, she could show up in the shortest Chloé babydoll dress and look perfectly appropriate. The trick is that she always leaves her hair “undone”. FINISHING TOUCHES 1Layer up necklaces of varying lengths and mix gold and silver together. Combine with a neckerchief for extra points. 2Wear a coat. Properly. Propping over the shoulders is now over. Furthermore, wear your coat all night. It suggests that a) it’s too precious to be banished to the cloakroom and b) you have a better invitation waiting around the corner. 3Regardless of age, shoulders are what to reveal now. 4A crisp white shirt is timeless. Now wear with sleeves pushed up and pop one side of the collar. A knotted front is also having a revival. 5Wear a large and interesting cocktail ring on every finger à la Valentino’s Maria Grazia Chiuri. Start collecting. 6A man’s gold or stainless-steel watch is always in style, but appears more feminine when worn with a mix of shiny gold bangles. 7Pull hair back into a tight, simple ponytail when wearing long statement earrings. 8Midi-skirt-and-sweater combos work best in contrasting prints. 9Stand up straight; good posture has the power to make anything look infinitely better. 10Don’t default to red. Try the New French – a French manicure on shorter nails. Meanwhile, Mira Duma flits between boyfriend denim and Russian demi- couture seemingly regardless of the event, while Dasha will wear prim Prada to a football match. These days, invitations often won’t state a dress code in the way they once did. “Black tie” is often replaced with “dress glamorous” or “dress colourful” – far more fun and much less restrictive. Emilia Wickstead, whose classic pieces have a simple modernity, says her clothes are just as wearable in the boardroom of a bank. “You can easily wear one of my dresses or skirts to work. Many of my clothes skim the leg just between the calf and the ankle; it’s a great length to get you from day to night. Partner it with a pair of brogues and look perfectly professional, then if you need to go out from work, simply add costume jewellery and heels and you are all set to go to a gallery opening or smart dinner.” Hannah Rothschild, non-executive director at Rothschild investment trust and chairman of the trustees at the National Gallery, has a work schedule that often keeps her busy from breakfast until bed.“I wear a lot of well-cut fit-and-flare dresses by Oscar de la Renta; they’re stylish and classic. It also helps that they never seem to crease – vital when you have to look smart all day.” De la Renta’s designs often have a stiff lining in the hem which offers structure and shape. “I love silk brocade pieces, or those that are shot through with silver thread. An element of embellishment isn’t too much during the day and great come night-time.” Rothschild has to attend at least one event a week, either in the art or business world. “I might add some jewellery and heels to what I wear during the day if I go from the office.” For black-tie events she does wear long; Etro, Dries Van Noten or McQueen are her go-tos. These days, women wear the bright colours of Peter Pilotto, Roksanda, or Gucci in the boardroom if they wish. No longer do they have to adhere to the idea that a demure suit is office- smart. As Vogue contributing editor Lisa Armstrong says, “The point is, if you are at the top you can make your own rules. So if we are to be led by example, the workplace now is a much brighter place. Serious business doesn’t have to mean serious clothes.” It’s easy to be thrown when out of one’s sartorial comfort zone. What to wear if you are not in the habit of going to the country for a weekend,invited by people whose ancestors have been doing this for generations? You don’t have to try to emulate. Adding a jewel- colour cashmere jumper to a Dries Van Noten skirt should get you through an evening, or try a frothy silk blouse with Burberry’s smart naval trousers. Most importantly, never look back to history for guidelines; instead, look around you and see what works. I did just that recently at a fashion dinner, hosted by Lauren Santo Domingo. What was she wearing? An LBD by Emilia Wickstead. I’m not kidding. Furthermore, she looked spectacular, which brings me to the conclusion: there are no rules. Wear anything with authority and everyone – including yourself – will believe in it. Q Lauren Santo Domingo in Emilia Wickstead OSCARDELARENTA “If you are at the top, you can make your own rules” Dior’s embellished trainers ESSIE NAIL POLISH IN BALLET SLIPPERS, £7.99 SUSAN FOSTER RING, £9,880, AT MATCHES FASHION.COM 160 inVOGUE
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JASONLLOYD-EVANS;MITCHELLSAMS 171 inVOGUE W hen was the last time you wore an heirloom? A finely worked piece of jewellery handed down from generation to generation, or an exquisitely embroidered evening dress inherited from a grandmother? Perhaps the word heirloom has thrown you, conjuring up images of precious but dusty fabrics. Or perhaps, like me, you’re thinking along the lines of tomato varieties rather than tiaras. Heirlooms, though, are the very thing for now. Having shelved the polished codes of luxury – that clean, discreet aesthetic which reigned for so long – the spring collections were rich and opulent,boasting highly worked details.They signalled a return to craft but without the make-and-do connotations. Leather, silk and frothy tulle were all worked uponlaboriouslyandlovingly,embellishedandembroidered to offer a charmingly eccentric flavour. Take Gucci, where creative director Alessandro Michele’s heirloom impulse is stronger than most. A keen collector of antique textiles and upholstery, and a needlepoint fan (when in London, he picks up kits at Liberty), Michele has steeped his Gucci girl in heritage. His spring collection was a riot of traditional Italian craft. Jewel-tone satin came sprinkled with rhinestones that took a day to hand- embroider; lace gowns presented sequined parrots that necessitated 18 hours of sewing; tapestry flowers were Rich MIXORNATE DETAIL WITH A SUBVERSIVE TWIST HAS CREATED A VERY MODERN HEIRLOOM AESTHETIC FOR SPRING. BY ELLIE PITHERS DRIESVANNOTEN LANVIN VALENTINO
JASONLLOYD-EVANS;MITCHELLSAMS “This flamboyant woman wants to enjoy life. She dares to mix things” XXX inVOGUE hand-stitched on to a black leather biker jacket; and lush 18th-century brocades sported ruffled, sequined hems. Even the accessories had been painstakingly crafted: one silk rose, worn at the neck (right), took two days to make. Craft techniques were equally abundant at Valentino, Oscar de la Renta and Lanvin. At Dries Van Noten, the designer’s familiar jacquards came with showgirl paillettes arranged in wing-like configurations. “I was thinking about the flamboyant woman – she’s not just eccentric, because that can mean old and with 25 cats,” says Van Noten. “She wants to live, she wants to enjoy life. She knows how to mix things, and dares to.” That ability to mix is paramount, according to Aleks Szymanska, visual trends analyst at the Future Laboratory. “Designers are adopting these very traditional techniques, but giving them a new form of expression, one that is almost subversive. Gucci’s collection was full of gorgeous, precious detailing, but the references were a surreal combination of the animal kingdom, maps, atlases and a sugary Sixties element – and that mix felt very modern.” The impulse to frame idiosyncratic craft within a contemporary context has hit the art world, too. Sotheby’s reports that a growing number of its modern art collectors have begun buying Old Masters. “Collectors are looking to acquire works that speak to a different moment in time and have a historical lineage,” says Olivia Thornton,director and senior specialist of contemporary art at Sotheby’s London. “They’re buying traditional works that fit with their contemporary aesthetic, but also collecting work by contemporary artists who use craft techniques. Artists such as Tracey Emin, who uses appliqué and stitching on her blankets, Alighiero Boetti, who employs artisans from Pakistan and Afghanistan to execute his conceptual work, and Rosemarie Trockel, who harnesses knitting and tapestry, are all really desirable.” the Future Laboratory sees the trend as part of a broader shift in the luxury market towards storytelling. “The big brands have a challenge to attract the attention of consumers who are seeking an emotional connection with what they buy,” says Szymanska. “Traditional craftsmanship can’t do that on its own, especially since terms such as ‘craft’ and ‘artisanal’ have become empty marketing buzzwords used to sell beer and chips. But when those craft techniques are used in a playful, cheeky way, you can build on a story, and that creates desire.” Erdem, who has built his brand on craftsmanship, understands it needs to come with a backstory. His cinematic spring collection (which saw girls tramping through mud to a crackling soundtrack of Emily Dickinson poetry)wasinspiredbytheHomestead Act of 1862, whereby American women gained the right to own a tract of land, but only if they lived alone on it for five years. “I’d been reading about prairie madness, a psychological condition that developed as a result of the act,” he says. “I was intrigued by the idea of isolation,how these women survived on the prairie.” His fabrics literally told the women’s story. “Everything was very worked on and developed,but often the base fabric was very poor: I loved the contrast of hand-embroidery on a basic cotton ticking stripe, or a fabric we developed to look like raffia that frayed beautifully.” That subtlety extended to the memento mori of women’s faces woven into broderie anglaise.“I wanted it to be naive, but presented in a dark way,” he says. The front row looked visibly moved at the finale; consider that emotional connection fully forged. Tabitha Simmons, a self-confessed needlepoint fanatic, welcomes the new craftwork. She has been working with a seventh- generation English silk mill to produce delicate embroideries for her shoes. “With social media, everything is on such a quick turnaround and people have such short attention spans. I feel people now want items that they can’t find everywhere else and that are the highest quality possible.” Incidentally, the silk mill is the same one that produced the weaving for the Queen’s coronation coaches. That’s the kind of geeky twist that heirloom lovers dream of. If it all sounds a bit overwhelming, don’t panic.“Accessories are a gateway to those maximalist collections,” says Sarah Rutson, vice president of global buying at Net-a-Porter. “You can be in a minimal dress but with a beautiful embroidered shoe or tapestry handbag. It’s that softly, softly approach. How to wear it now is about tempering everything – a brocade skirt worn with a white shirt and a slip-on shoe. It’s about balancing out the ornateness.” Perhaps those richly worked details are best worn in unexpected form, as one Vogue editor discovered when she found a metallic embroidered bird the size of a baby’s fist sewn into the lining of her new black Gucci blazer. There was no mention of it at the time of purchase. What could be more chic than an heirloom detail that no one else can see? Q GUCCI ERDEM OSCARDELARENTA
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LAYERING IS BOLD, SURPRISING AND REAPS REWARDING RESULTS. BY JULIA HOBBS AND NAOMI SMART TALES of the UNEXPECTED JUMPSUIT + LONG SLEEVE While spindly booties elevate a khaki jumpsuit for daytime polish, it pays to keep it real. Wear a long-sleeved skater tee beneath rolled-up sleeves to ward off the last of the winter chill and add unexpected tomboy edge. UNDER OVER Work the lingerie trend without revealing any skin. A leather bralet worn over a skinny tunic top is a case in point. ARIES COTTON T-SHIRT, £100 FRAME SUEDE JUMPSUIT, £1,040, AT COLETTE.FR Shift the preppy shirtwaister up a gear: a black leather wrap skirt adds forward- thinking definition. SKIRT +DRESS NIKE LEATHER SNEAKERS, £75 Annette Weber at Paris Fashion Week Stylist Anya Ziourova at the Paris shows Maximalist layering in London for the s/s ’16 shows KEJI COTTON TOP, £195, AT NET-A- PORTER.COM EACH OTHER LEATHER BRA TOP, £360 JOSEPH LEATHER SKIRT, £1,395 TOME SILK SHIRTDRESS, £985, AT MODA OPERANDI.COM Pair with JIMMY CHOO SUEDE BOOTS, £795 Pair with PRADA PYTHON AND SUEDE BAG, £2,120 PETER PILOTTO CREPE SKIRT, £770, AT BROWNS Pair with 181 inVOGUEGEORGEANGELIS;VICTORIAADAMSON;JASONLLOYD-EVANS;PIXELATE.BIZ
GEORGEANGELIS;JASONLLOYD-EVANS;PIXELATE.BIZ A breezy, off-the- shoulder blouse instantly converts a plunging party dress into a workable, everyday look. The final touch? Carefree, tumbling hair. OFF-SHOULDER + V-NECK Pinstripes aren’t just for work. Take the boardroom staple out of office with a structured bustier and handbag, and punchy kitten heels. BANDEAU OVER SHIRT DRESS + JEANS Turn a summery floral dress into a year-round staple. Gently flared jeans put a Nineties grunge spin on abbreviated bohemian styles. RUPERT SANDERSON LEATHER LOAFERS, £445 Fashion buyer Annabel Rosendahl at Milan Fashion Week a/w ’15 Norwegian blogger Hedvig Opshaug in Gucci THAKOON CHIFFON DRESS, £9,425, AT JOSEPH MANSUR GAVRIEL MAHARAM LANALUX CLUTCH, £750 ZIMMERMANN SILK DRESS, £2,091 As seen at London Fashion Week CARVELA LEATHER CLOGS, £99, AT HARRODS PAIGE DENIM JEANS, £216, AT SQUAREONE LONDON.COM Pair with MILLY COTTON TOP, £235 Pair with RALPH LAUREN COLLECTION LEATHER BAG, £1,625 MOSCHINO PATENT-LEATHER SLINGBACKS, £470 VERSACE COTTON SHIRTDRESS, FROM £588 Pair with DONNA KARAN NEW YORK CANVAS AND CREPE TOP, £860, AT NET-A-PORTER.COM 182 inVOGUE
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WHEN CALGARY AVANSINO MOVED TO LONDON IN 2000, HER HEALTHY CALIFORNIAN WAYS WERE SEEN AS “WEIRD”. HOW TIMES HAVE CHANGED i f you can believe it, there was a time when coconut water wasn’t available at Pret A Manger, when quinoa wasn’t stocked at Tesco, and when people were yet to regularly debate which cold-press company delivers the “greenest” juice. This was the London that welcomed me from California 15 years ago. Unlike many Americans, my husband and I weren’t moved here on assignment. We had made a conscious decision to pull up roots and make the big leap across the pond because we wanted to live the European life, make British friends and work for British companies. We were ready to immerse ourselves in London life. Give or take a few cultural idiosyncrasies, we figured, we shared acommonlanguage – how different could it be? Very, as it turned out. You might say I was a typical 25- year-old California girl at that time: into yoga, smoothies and books about meditation, although I definitely was not a hippy. God, no! I got regular manicures, loved fashion, shaved my armpits and always wore a bra. In California, there was nothing extreme or “weird” about me. Awareness of healthy food, exercise and spirituality were commonplace. Even if you weren’t particularly passionate about the topics, they were part of the West Coast lifestyle and vernacular. All my friends worked out – mostly at 6am, before work – and no one batted an eyelash if you ordered a plate of veggies for dinner.That was my norm. On the freezing morning of December 28, 2000, we arrived in this great city with all the optimism that only a fresh start can grant you. As I wandered around our new neighbourhood with a copy of Time Out in hand, I stopped in cafés to warm up and write lists. I had to get a job, join a gym, decide on a local grocery store that would have everything I needed, find a hairdresser, a yoga studio and a local farmers’ market; all the comforts that would make me feel at home in a foreign land. Don’t get me wrong, I wasn’t one of those annoying expats who want it to be “just like home”, I embraced the cultural differences, but there were elements of my Cali It became clear that mayonnaise was, over here, practically a food group lifestyle that I had mistakenly assumed I would easily import into my life here. How can a girl live without organic vegetables, almond milk and a good trainer? Seriously. Within days of moving to London it became clear that mayonnaise was, over here, practically a food group: tuna with mayo (or more correctly mayo with a little tuna); stacks of white- bread sandwiches slathered in it; sweetcorn and mayo on baked potatoes; chips dipped in it; and salads “dressed” with it. I quickly realised that I was going to be cooking at home, a lot. For this I needed the ingredients I was accustomed to back in California. But there wasn’t much organic produce in the supermarkets, no designated “health-food aisle”, no Top: Calgary, with a plate of (healthy) chocolate, cranberry and buckwheat cookies. Above: an early-morning hike on the Santa Barbara mountain trails 191 Golden STATE of mind VOGUEviewpointKRISTINPERERS;INSTAGRAM/CALGARYAVANSINO
INSTAGRAM/CALGARYAVANSINO almond butter or good avocados, and definitely no quinoa or kamut. Heeding the advice of a neighbour, I headed to Borough Market. This would be the answer, I hoped – a mecca of fresh, organic produce from countryside farms with friendly purveyors and like-minded people. It was not. First of all, I’m sorry, but it’s underneath the railway line! With puddles of stagnant rainwater underfoot, it smelt like kebab meat and there were more stands selling pies than organic vegetables. I tried to like it, I really did, but that isn’t an open-air farmers’ market, people! Finally I found something resembling what I had at home in two stores: Fresh Wild and Planet Organic, both in Notting Hill. They stocked products such as soya milk, wild rice, raw nuts, organic yoghurts, tofu, organic and grass-fed meats and wholegrain breads at a price. I made a weekly pilgrimage there after my yoga class at the Life Centre, only to realise yet another cultural difference: people in London most definitely didn’t wear their workout clothes outside the workout environment. I might as well have been walking around in a G-string for the number of disapproving looks I received.These days wearing the right brand of fitness wear in public is a bragging right, but back then it was verging on improper. So like any good émigrée I started changing in the dressing room with the rest of my class. In 2000 there were few gyms and exercise classes, so I shimmied around London in search of new ways to sweat. In the end, I decided running was the most universally accepted exercise. But I seemed destined to stick out. Before moving to Britain I had begun learning about the power of intervals from a trainer who had taught me all variety of hops, skips and jumps to do between running spurts. So I danced and pranced around Hyde Park as bemused dog- walkers looked on. Another example of a Californian exercise that doesn’t translate: on our first weekend in the country with friends I was told to wear wellies for our afternoon walks. I’m a hiker – we’re talking tall peaks, sweat, hiking boots on, lots of calories burnt – and now I was going to walk in the rain in flabby, gripless rubber boots? I found myself longing for cardio like others long for cream buns. afew months after arriving in London, I landed a job at Vogue and quickly became acutely aware of two things: my wardrobe; and being the only American in the office. I would arrive at work still flushed from the gym, while my colleagues were still nursing their coffees. Exercising, caring about your body and what you ate (and, God forbid, talking about these things) just wasn’t very English. It wasn’t long before I gained the status of office health nut – helped by the actual nuts (raw almonds, brazils, walnuts) that I kept in my desk drawer. Since I didn’t much like the typical lunchtime offerings in the nearby sandwich bars (see: mayonnaise) I started bringing in leftovers for lunch (cue more eye-rolls), and a smoothie for my mid- morning snack, which one of my more brazen colleagues referred to as “diarrhoea”. I was officially weird for the first time in my life! But Californian habits die hard. I continued to do things my way, hunting down the foods I wanted to eat and making do without the ones I missed. Regardless of the high-maintenance rep I was establishing for myself, I still asked for my dressing on the side, my spinach steamed instead of sautéed, and: “Is there cream in this soup?” Eventually, over the years, London caught up with me. Real farmers’ markets started popping up all over the city, Daylesford opened a raw food café and Whole Foods debuted in 2007. I can’t quite articulate how exciting this was to me. Slowly but surely what was once kooky became part of the everyday vocabulary. First it was quinoa, then coconut water, chia seeds and sprouting. I would smile and nod when people said to me,“You should try green juice, it’s amazing!” I didn’t feel smug, just happy that an interest in healthy living was gaining momentum. Suddenly instead of exercise being deemed a form of torture, people were keen to try “the new class” or join a swanky new gym. And if you didn’t already have, or desperately want, a Vitamix you were judged hideously out of touch.Within a few years my “weird” habits became of particular interest to those around me. What did I eat for breakfast? What did I feed my kids? How often did I work out? What did I snack on? Jump ahead another five years, and I’ve written a book on those very topics – wow, I’d never have guessed that a decade ago. Keep It Real not only offers simple recipes and practical advice on all things healthy but also chronicles my commitment to wellness as a lifestyle, never a diet. Along the way, Britain has taught me some lessons, too. In California the obsession with body image and perfection is at the very least tiring and at worst destructive. It’s more balanced, less extreme here, more focused on having a good time. God forbid you should take yourself too seriously. I admit that I have felt pressure to be “perfect” a lot of my life (which is another article altogether), and it’s counter-productive. Not until the last few years have I truly (and I mean it, honestly) learnt to love my body. Just simply show it love! Not because it is fit, hard, thin or looks good in clothes; just because it’s mine and I’m healthy and happy. To be well, strong, able to have three babies and get up every day feeling good is a blessing. I feel more balanced about food than I ever have, and it’s freeing. I do eat bread and pasta, and I enjoy desserts – just not all the time. Moderation is the mantra. Living in Britain has made me understand that health is about balance, not deprivation, and that being healthy has as much to do with your mind as it does with your body. That said, I still don’t eat mayonnaise. Q “Keep It Real” (Yellow Kite, £25), by Calgary Avansino, is published on February 18 Slowly, what was once kooky became everyday 192 VOGUEviewpoint From top: Calgary, pregnant with her third child, at London Fashion Week; berry picking in California; showing her love of kale
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HAIRANDMAKE-UP:CAROLYNGALLYER.LAURAWEARSSHIRT,HAIDERACKERMANN; TROUSERS,ALEXANDERMcQUEEN.BOTHATBROWNS.SHOES,MANOLOBLAHNIK Blasts from THE PASTBESTSELLING NOVELIST LAURA BARNETT’S “CURIOUS INHERITANCE” IS A DISMAL BEAST. BUT HOW WOULD SHE FEEL IF IT DISAPPEARED FOREVER? aJuly day in south London in 1989: clammy, golden, smelling of hot pavements and car exhaust. It is my birthday, and I am giddy on cake and presents and the fact that, tonight, all my seven- year-old dreams are going to come true: my mum is finally taking me to see Andrew Lloyd Webber’s Cats. For months, I have been obsessed with the show. I could hardly be more excited if Webber himself knocked on the door of our flat and broke into a personal,idiosyncratically harmonised rendition of “Happy Birthday”. There’s one problem: my mum is in bed in her room,curtains closed against the light, pressing the left side of her face into her pillow. She is deathly pale and can hardly bear to open her eyes. “Just let me sleep,” she says, and I do, though it is my birthday, and surely she should be thinking about me. “I’m not sure I can go tonight,” my mum tells me softly some time during the afternoon, and I am inconsolable, raging at the injustice of it, until she rouses herself, dresses, and calls us a cab into town. At the theatre, I watch the stage, transfixed by the wild-haired dancers in brindled catsuits, while my poor mum holds her head in her hands, shielding her eyes from the pounding, strobing lights. Even now, I feel guilty about that day. My mother’s affliction, migraine (a savage, throbbing pain, usually on one side of the head, lasting up to three days and bringing with it a sensitivity to light, sound and certain foods), is my own. I now know what it is for my vision to disintegrate,moment by moment, into fragments – lurid, hallucinatory, like the endlessly shifting patterns in a kaleidoscope. I know how it is to feel that pain – which my mum has always described as being like an iron bar thrusting into her skull, but which, for me, feels more like being stabbed repeatedly with a blunt knife. I am now the one who, at best, must lie down in darkness and silence once a fortnight; and, at worst, has a migraine almost every day, forced to withdraw from the world entirely until, finally and blissfully, the pain loosens its grip. My first migraine arrived when I was 17. I know this because it is noted in my medical records,but I remember nothing about it. I do, however, recall taking one of my final exams at university with a migraine, the lines on the paper blurring through a mist of pain; and, in my twenties, pressing my head against a toilet door for cool comfort during my long days in the office as a newspaper journalist. I had a migraine on my wedding night. I’ve missed countless meetings, parties, birthday dinners. I think of migraines as a tax on fun, triggered by alcohol, excitement, travel, late nights: all the things that, as a 33-year-old woman, I feel I ought, by rights, to be enjoying to the full. As a novelist and freelance writer, I am very lucky to be able to work from home, shaping my timetable around the unpredictable periods of rest and withdrawal; I would simply, in the worst phases, not be able to hold down an office job. My husband and I worry about having children, and how I would cope with the sort of situation my own mother faced, all those years ago, on my seventh birthday. Migraine is a miserable, tricky condition, long misunderstood – only recently have medical researchers begun to unpick the physical processes believed to underpin it – and much “It is a link between me and all the women whose genes I carry.” Laura Barnett at Four Hundred Rabbits, SE19. Sittings editor: Nura Khan. Photograph: Rick Morris Pushinsky 201 VOGUEviewpoint
abused. I have lost count of the times I’ve heard migraine used as an excuse for just lolling around with a hangover, or descriptions of migraine as somehow synonymous with hysteria; suffered by highly strung women overcome by self-perpetuating attacks of nerves. It is also often dismissed as just a bad headache, but it is far more than that. Migraine is, as the National Migraine Centre (NMC) in London – an invaluable charity providing migraine sufferers, or “migraineurs”, including me, with specialist medical advice – points out, a disorder of the brain. Its precise cause is still not fully understood but is believed to involve the emission of neurotransmitters by an area of the brain with a brilliant tongue-twisterofaname,thetrigeminal ganglion. These neurotransmitters stimulate the dilation of blood vessels, which then cause the pain. About one in seven people in Britain suffers from migraines, with women up to three times more likely to get them than men; the World Health Organisation lists migraine among the 20 most disabling lifetime conditions. Migraine seems to run in families. In his classic 1971 book Migraine,neurologist Oliver Sacks (though sceptical about this himself) cited several studies indicating that up to 65 per cent of migraine patients are likely to have migraineur relatives. In women, this heredity may be linked to the menstrual cycle; often a governing factor in attacks, and another reason women seem so much more susceptible to migraine than men. That certainly reflects my experience. Every woman on both sides of my family has suffered from migraine: picture a family tree, shifting down through the generations, and there, at the bottom, am I, fusing two long lines of migraineurs into one.Migraine is a link between me and all the women whose genes I carry; it is my own curious inheritance. Throughout their adult lives, both my grandmothers often retired to their darkened bedrooms. My maternal great-grandmother, Eleanor (a formidable woman with six children, a laundry business and a husband who toured America as a trick rider in Buffalo Bill’s circus), called her migraines “sick headaches”, and worked on through them, stoical, a cold compress held to her temple under a tightly wound scarf. Her daughters suffered similar fates. As a child, my mum remembers dreading Mondays – washday, when Eleanor spent all day boiling and mangling piles of laundry – as her own mother would invariably have a migraine by the end of the day. l earning to live with migraine is, at its root, about acceptance: struggle against the pain and it will only dig in its claws. Part of that, for me, has been about trying to see migraine as part of who I am; and also observing the fascinating links between migraine and creativity. Countless artists and writers have, over the centuries, been migraineurs. Van Gogh is believed to have suffered the unsettling visual disturbances known as the “aura” – that strange fragmentation of the vision that I’ve experienced many times and can, now I come to think of it, see in Van Gogh’s fractured, pulsing brushwork. Elvis, Elizabeth Taylor, Whoopi Goldberg, Joan Didion, Siri Hustvedt, Hugh Jackman: the list of creative migraineurs is long and diverse. So, I’ve long wondered, does having migraine make you more likely to be creative, or does being creative bring on a migraine? I’m increasingly aware of a connection between my most intense periods of work – those frenetic “flow states”in which the words seem to pour from me and I begin to lose track of space and time – and my migraines. These bursts of creativity are often, it seems, followed by a migraine attack. Dr Jud Pearson, a GP and headache specialist at the NMC, has an interesting theory about this. As most migraineurs gradually learn, each attack can usually be divided into clear phases, including the “prodrome”, which precedes the onset of the pain and is,Dr Pearson points out,the phase in which an artist or writer may feel at their most productive.“The prodrome can produce feelings of euphoria and increased energy,” she says,“so it’s easy to see how that might connect with intense periods of creativity.” She isn’t convinced, however, that migraine and creativity necessarily go hand in hand.“Up to 20 per cent of the population as a whole have migraine,” she says. “So of that number, it’s logical that a good many will be artists and writers. But many different types of people suffer from migraine.” This is true even of the women in my own family. I am the only professional writer or artist among us, and though I may carry some of their character traits (my paternal grandmother’s melancholic streak, my mum’s tendency to worry), there is nothing to suggest that our migraines might have their source in some innate, unchanging aspect of our personalities. I am far luckier than them, too, in terms of the possibilities available for managing the condition.There is still, as yet, no cure, but we migraineurs are taught to keep diaries of our attacks, to help identify – and then avoid – the triggers that may be causing them. And recent advances in medical understanding have ushered in a group of painkillers called triptans that actually do blunt the pain, something my great-grandmother (scarf tied pirate-like across one eye) or my mother (forced to endure the torture of the strobe lighting and noise of a musical) could only have dreamt of. I have also, in the last few months, begun taking a new preventative medication that I hope will reduce the frequency and intensity of my attacks. Should this, or anything else, ever offer me the chance to rid myself of migraines for good, I would certainly not miss them. But I would be aware, too, that some connection – some genetic quirk, passed from woman to woman along the branches of my family tree – would have been severed. This curious inheritance would no longer be mine to bear; and perhaps some small part of me would mourn its disappearance, even as I celebrated my liberation from a lifetime of recurrent and debilitating pain. Q “The Versions of Us”, by Laura Barnett, is published by Weidenfeld Nicolson at £7.99 I think of migraine as a tax on fun, on all the things that, as a 33-year-old, I feel I ought to be enjoying to the full Laura, aged four, with her mother 202 VOGUEviewpoint
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after driving down from his Derbyshire home, Jack O’Connell arrives at a studio in north London carrying his own bags, opening the door for others and navigating the room in a flurry of “bless you” and “cheers, boss”. The actor lives with his mother and sister in the home he bought them with the pay from Unbroken, Angelina Jolie’s Second World War epic. The Oscar- winning actress (with whom he’s now on “Angie” terms) cast him last year in the lead role as the formidable Olympic distance runner and prisoner of war Louis Zamperini. During filming she flew his family out for dinner on-set; he returned the favour, he says, by GUTTERCREDIT Boydone GOODHaving drawn on his own past for the bad-boy roles that got him noticed, Jack O’Connell now looks to Angelina and Jodie for guidance, he tells Louisa McGillicuddy JACKWEARSSHIRT,APC Jack O’Connell: “I used to want to fight the whole system…” Grooming: Mike Gorman. Sittings editor: Beatriz de Cossio. Photograph: John Spinks 231 VOGUEview
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“Often Jodie wouldn’t even say anything, she’d just ‘do’ the emotion” SKINS (2009-13) STARRED UP (2013) ’71 (2014) UNBROKEN (2014) de-mining fields for her charitable projects in Cambodia. O’Connell was a relative newcomer at the time, and Jolie’s patronage shot him to $150 million-grossing box-office success. Despitethefast-tracktoHollywood, today he travels with only one assistant (rare) and arrives on time (rarer still). He chats to everyone – including a ginger tomcat belonging to Vogue’s photographer – and looks you dead in the eye as he speaks. He pays attention when you talk, too, asking about the Irishness of my surname – because his father, who died when Jack was 18, hailed from Kerry, and he goes there often. The scrupulous manners are worth noting because it wasn’t long ago that Jack O’Connell had a reputation for being… unpredictable. He’d meet journalists bleary-eyed from the night before. That Jack was juggling performances at the Royal Court (playing a student sleeping with his teacher in Scarborough) with appearances in an actual magistrates’ court (he remains vague on the details, but the misdemeanours almost cost him his American visa). But that’s all in the past. Now 25, he’s bright-eyed and clean-shaven, auburn hair worn in a half-crew cut – last season it was longer and slicked back in a Prada menswear campaign. We meet in a nearby pub (initially vetoed by his publicist as not a very Jack 2.0 venue), but he orders water. “I used to want to fight the whole system, make a difference,” he says with a frown. “But I don’t think you can do that in one interview or one fuckin’ rant.” The only hint of a wayward past is a giant “Jack the lad” tattoo on his right bicep. It came from a frequent comment in his end-of- term reports at his Catholic school. He left an atheist with two GCSEs – one of them in drama. In person, he is polite but cautious. Following a few ill-advised Twitter outbursts, and some increased tabloid attention thanks to a rumoured romance with Cara Delevingne, he deleted his social-media presence last year; now he has a private Instagram account under a fake name. He speaks with honesty, but prefaces it with apologetic disclaimers such as “Not to get wanky and pretend I’m an artist, but…” or “Not to be clichéd, but…” He’s been in the business, involved in “all this malarkey”, as he puts it, for 10 years, and speaks as if it’s been a lifetime. “I want to be regarded seriously as an actor, and I feel a lot clearer about what I want to achieve,” he says in his slow, syrupy accent. b y O’Connell’s own admission, if the acting hadn’t worked out “I could’ve just reared off the tracks”.But the chequered adolescence has enriched his rough-and-ready- type roles: a National Front recruit (This Is England), a gang leader (Eden Lake), a juvenile offender (Starred Up) and a soldier (’71). He’s been chiselled into fighting shape as an Athenian warrior for 300: Rise of an Empire, then lost a stone and a half to be the withered Zamperini in Unbroken (today there’s not an inch of fat to his sinewy 5ft 8in frame). The compelling vulnerability in all his roles has earned him comparisons to a young Brando – and, last year, a Bafta newcomer award. Do the high-octane screen performances take their toll? “Of course,” he nods, fiddling with a pack of Marlboros. But he’s quick to point out the alternative: “Being out of work. I don’t like to spend too long not working.” During one quiet spell, he worked on a farm shovelling horse manure; “very grounding”,as he puts it. O’Connell landed his latest part – the lead in Jodie Foster’s Money Monster – over a transatlantic Skype session. “We looked at many, many actors,” she emails from LA, “but within seconds of Jack launching into Kyle, we barely looked back.”The Wall Street drama sees him play a deranged viewer who, after losing his life’s savings, takes the host (George Clooney) of a stock-market-tips television show hostage. “There’s a complicated guy in there,” continues Foster of O’Connell, “who clearly has dealt with the consequences of his own emotional demons. Maybe that’s what makes him so hard-working and grateful. I feel so blessed to have been able to stand in the room with him and cheer on his enormous talent.” “If I wasn’t as panicked or traumatised as she wanted, she’d often come over and wouldn’t even say anything, she’d just ‘do’ the emotion for me,” he says with a laugh, about Foster’s technique. “We got to a stage where I could kind of understand whatshemeant.”He’sconsidering following that well-trodden path of actor-turned-director, like Foster and Jolie, and setting up his own production company one day.“You can create jobs then and find talents, offer opportunities like the ones I had,” he says. But right now he’s most excited – and anxious – about returning to the stage in March in The Nap, a new play about a troubled snooker professional, for which he’ll be commuting to Sheffield’s Crucible Theatre each night – and has been studiously practising his lines since before Christmas. “I’m probably overdoing it, but it’s my first dabble at theatre for a while, and I want to hit the ground running,” he says, brow furrowing. “When I came out of the Royal Court in 2008, I felt like I’d learnt more in that theatre than I had in my entire career. I want to repeat that scale of learning, you know?” If those teachers weren’t already eating their words, Jack the lad’s now a thoroughly model pupil. Q JACKWEARSSWEATER,SUNSPEL.JOHNSPINKS;JACKBARNES;THEKOBALCOLLECTION;REXFEATURES “I feel a lot clearer about what I want to achieve,” says O’Connell 233 VOGUEview Role model
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DAVIDLACHAPELLE,ASTOLDTOHANNAHNATHANSON.DAVIDLACHAPELLE;CATWALKING.COM;BRIANDOUGLAS; LANDMARKMEDIA;MINISTRYOFCULTURALHERITAGEANDACTIVITIESANDTOURISM;REXFEATURES Venus RISING b otticelli’s Venus standing in an open shell with her knee bent and head tilted in The Birth of Venus (1484-86), above, is one of the most celebrated female nudes in the history of art. I’ve always been influenced by Renaissance sculpture and painting. Right back in the early Eighties in New York, when I used to shoot my friends at my East Village squat, I remember a roommate trying to recreate Michelangelo’s Dying Slave pose. With my work The Rebirth of Venus (2009), top, I wanted to put a contemporary take on Botticelli’s masterpiece and celebrate the beauty of the female form in its unashamed nudity. The noblewoman Simonetta Vespucci posed as Venus for Botticelli. Considered a great beauty (legend has it Botticelli was in love with her), she also modelled for his Venus and Mars, which hangs in the National Gallery and was the inspiration for another of my works, The Rape of Africa (2009),for which Naomi Campbell sat as Venus. I chose Czech model Hana Soukupová to pose for The Rebirth of Venus. She was doing a series of photographs with me in Hawaii, where I live, and I just thought she was beautiful. Traditionally in paintings the Celebrity photographer David LaChapelle explains why the works of Sandro Botticelli are as fresh today as they ever were FILM TREND: TRUMBO (out now) Set in Fifties America, Helen Mirren plays right-wing gossip columnist Hedda Hopper with callous grit and an array of exotic hats, which Hopper, above right, famously wore. Meanwhile, Tilda Swinton adopts a clipped English accent for her Hopper portrayal in Joel and Ethan Coen’s HAIL, CAESAR! (February 26), in which she tries to untangle the mysterious kidnapping of fictional Baird Whitlock, the biggest star in the world, played by Coen favourite George Clooney. SPOTLIGHT (out now) Rachel McAdams and Mark Ruffalo play real-life investigative reporters Sacha Pfeiffer and Mike Rezendes, members of the Boston Globe’s Pulitzer Prize-winning Spotlight Team, which helped to expose widespread sexual abuse within the Massachusetts Catholic Church. THE END OF THE TOUR (out on DVD) The five-day interview between Rolling Stone writer David Lipsky and the brilliant novelist David Foster Wallace was never published. This film is about that intense 1996 encounter, when Lipsky (Jesse Eisenberg) followed Wallace (Jason Segel) on tour for a piece on “What it’s like to be the most talked about writer in the country right now”. MILES AHEAD (April 22) “I could write some bullshit… but I’d rather hear it in your own words,” says Rolling Stone reporter Dave Brill (Ewan McGregor) to Miles Davis (Don Cheadle). McGregor’s role is based on journalists who strove to interview Davis in the Seventies. HN seashell represented the female sex; instead of having Hana standing on a shell, one of the god-like young men is holding a conch in front of her, while the other blows into a shell, trumpeting her arrival and proclaiming her beauty. It was a very spontaneous shoot, which we set up on a bluff in the rainforest overlooking the South Pacific. I know the spot well and I’d always wanted to shoot there. We started at sunrise, and by the time we’d finished we were all totally sunburnt and looked like lobsters. It took a while to shoot because it was such a precarious location; everyone was balancing with sticks and ladders. The tropical setting was not exactly the Mediterranean that would have inspired Botticelli’s palette; the colours are punchier. The ribbons, which break up the frame, are a reference to another Botticelli painting, The Three Graces (circa 1482), in which it’s as if the painter’s three female figures are dancing round a maypole. I loved the ribbons’ energy – it’s almost like there’s a scribble across the photograph. During Botticelli’s time a lot of his so- called pagan art, depicting classical gods rather than one Christian God, was thought to be immoral and was burnt by the Florentine friar Savonarola – the Donald Trump of the time. But Botticelli’s work wasn’t pagan, it was about the human condition. His Birth of Venus is about pure beauty; give it time and it will transport you away from the darkness of the world. Which is why his work, with its themes of conflict and beauty, continues to be relevant to this day. Q “Botticelli Reimagined” is at the VA, SW7, from March 5 to July 3 A Botticelli- inspired Dolce Gabbana s/s ’93 dress is on display at the VA show 238 VOGUEview On the same page From Boston Globe and Rolling Stone writers to two portrayals of the notorious American gossip columnist Hedda Hopper, journalists have become the scoop in a string of new film releases
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EJASONWAMBSGANS/CHICAGOTRIBUNE Darkness FALLS illian Flynn has been living in the dark confines of her book Gone Girl since it was first published in 2012.That’s what happens when your novel about marriage, lies and murder becomes a colossal success, putting you with the ranks of authors like Stephen King or JK Rowling who found global fame and huge fortunes. But before Amazing Amy, before the 10 million copies sold worldwide, and the 2014 film by David Fincher that took nearly $400 million at the As the novel she describes as “more frightening than Gone Girl” comes to the screen, Gillian Flynn tells Marisa Meltzer why what’s closest to us is scariest of all box office, there was Libby Day, the heroine of Flynn’s second book, Dark Places. This month, Gilles Paquet- Brenner’s film adaptation of that book is released, starring Charlize Theron as the unlikeable yet gutsy Libby,a woman set on avenging a horrible crime. “My first book, Sharp Objects, is the most gothic, Gone Girl is the most modern, but Dark Places is the most frightening and unnerving.” Flynn is perched on a sofa in a café in Chicago, the city where she lives with her husband Brett Nolan, a lawyer, and their two children: a son named Flynn, five, and Veronica, one. Dark Places, which was published back in 2009, tells the story of Libby Day, sole survivor of the murder of her family in Eighties Kansas. Twenty years later, Libby is still getting by as the girl who survived, living off the dwindling proceeds of a fund in her name. She’s so desperate for money – and also, perhaps, a human connection of some kind – that she agrees to make an “It’s a strange little book,” says Flynn of Gone Girl, the novel that brought her worldwide fame. “There’s no one really to root for” g 245 VOGUEview
GETTY;CAROLYNCOLE/LOSANGELESTIMES/CONTOURBYGETTY appearance at an underground Kill Club, where true-crime aficionados gather. (In the film, look out for Lizzie Borden in the Kill Club scene, a Hitchcock-style blink-and-you’ll- miss-it cameo from Flynn herself.) If the underlying menace of Gone Girl was the recession and tabloid culture, then in Dark Places it is blue-collar poverty, satanic worship, paedophilia. Today Flynn is dressed in a black shirt and trousers, her long auburn hair spilling over her shoulders, but it’s a look that comes across as more basic than severe. In fact, she has a rather innocent and sweet appearance and is quick with a joke, which makes the whole business of how she writes such twisty thrillers so confounding. “Dark Places is set pretty close to that area of country that In Cold Blood is,” she says, referring to Truman Capote’s classic true-crime book. Growing up in Kansas City, that story haunted her. Dark Places explores an equally horrifying premise, in which a family is murdered one night in the middle of Kansas. Her story is set during the Eighties farm crisis in America, where many small farmers could no longer afford to run their business and their land was foreclosed. The midwestern United States has its own brand of menace, different from noir Los Angeles or gritty Manhattan. “It’s that big, open sky, and you get a sense of your vulnerability; you’re exposed to the weather and animals and human beings in a way that you aren’t in a city.” Flynn is known for writing unlikeable, untrustworthy female anti-heroines, which drew Theron to the project. “I loved her lack of sentimentality and it was so refreshing for me to read something with an unabashed and fearless take on a female character,” Theron tells me later. She and Flynn have done their fair share of bonding during the project and while doing press together. (“I can’t say it’s the greatest thing for one’s ego to be constantly matched with Charlize all day long,” Flynn quips.) “The thing that struck me most about Gillian is how normal and funny and down to earth she is,” says Theron.“I mean, how do such dark things come out of someone so light?” i t’s true that, when she was a girl, Flynn’s family life was achingly normal, with a film professor father and a mother who taught reading. Her parents still live in the house she grew up in and her older brother lives close by.“Kansas City is not the place of huge dreams. It was like: dream, moderately,” jokes Flynn. She attended university in Kansas and then the prestigious Medill School of Journalism at Northwestern University, near Chicago. She thought for a spell that she wanted to be “a hardboiled crime reporter” but instead, after graduating, took a job at Entertainment Weekly. As a young woman, she loved thrillers and horror.“The old-fashioned kind of Hitchcock thrillers as opposed to ‘the serial killer’s out there’ sort of thing. I don’t read as much of those, it doesn’t scare me as much. To me, the scarier thing is that something very wrong is happening very close to you.” She wrote her first two books while still on staff at Entertainment Weekly. They were critical successes – Sharp Objects won two Crime Writers’ Association Dagger awards, and was shortlisted for an Edgar Allan Poe award, the prestigious mystery prize – but much more modest in terms of sales. Before Dark Places even came out, she was laid off from her magazine job, which set up the premise for Gone Girl – a New York media couple,both made redundant, move to the heartland to recreate themselves. “We were hoping it would build on my audience. I knew I had written a book that I would like to read but it wasn’t like we were all preparing for this thing to happen,”she insists now. “It’s a strange little book. There’s no hero, in that there’s no one really to root for. It’s like a whodunit where you find out who did it in the middle.” Advance word before publication from the sales force was that booksellers were liking this“strange little book”, and it debuted in June 2012 at number two on the New York Times hardcover-fiction bestseller list. When Flynn found out, “I was in Arizona getting ready to do a bookstore reading.I remember I was wading back and forth in the pool, I was like, great!” But she assumed sales would drop off the next week. Instead, Gone Girl went to the top of the list and stayed there for eight weeks. Breathless reviews and positive word of mouth turned it into a literary juggernaut. David Fincher, the director of The Social Network and The Girl with the Dragon Tattoo, snapped up the rights for a reported $1.5 million, with Flynn working on the script. Watching actors recite her dialogue was surreal, she says, but for an author also an exercise in ego management. “You have to let go of that ownership feeling when you hear an actor say a line in a certain way that’s been in your head for three years.” She and Fincher immediately embarked on a second project together, a series called Utopia, a conspiracy thriller set in the near future, starring Rooney Mara. But late last year, before it could be filmed, it was cancelled by HBO, the network that owns the rights. Its future is uncertain. “It sucked,” she sighs. “I mean, partly the pure opportunity it cost – I could have written the next novel in that moment – but I don’t regret it because working with Fincher is like a masterclass.” The 44-year-old author isn’t giving up on Hollywood quite yet, though she will remain living in Chicago. Her next screenplay is for 12 Years a Slave director Steve McQueen, a heist thriller based on the 1983 television series Widows, about four women who come together to pull off the crime left unfinished by their late husbands. “It’s not done wacky, like, ‘Can these crazy ladies do it? Like, you know, with their high heels and their periods?’ They’re badasses, so it’s four good roles for women of all different ages.” “Serial killers don’t scare me. The scary thing is that something very wrong is happening close to you” From top: Gillian Flynn at the Hollywood Film Awards in 2014; Flynn with Gone Girl stars Rosamund Pike and Carrie Coon; Nicholas Hoult and Charlize Theron in Dark Places 246 VOGUEview
W W W . M E S D E M O I S E L L E S P A R I S . C O M
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Vogue uk march_2016

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  • 2. A curated series of artwork by: JUERGEN TELLER, BRUCE WEBER, LIGHTNING by TETSUYA NOMURA & VW of SQUARE ENIX Sold exclusively in Louis Vuitton stores. Tel. 020 7998 6286 louisvuitton.com LIGHTNING
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  • 53. 49 WHAT TO BUY NOW Page 211 EdieCampbellwearssequined chiffoncrepondress,£3,020,Gucci. Getthelook:make-upbyYvesSaint LaurentBeauté.Skin:YSLLeTeint ToucheEclatFoundation,Blush VoluptéinParisienne.Eyes:YSL LuxuriousMascaraforFalseLash Effect,YSLWaterproofEyePencil. Lips:YSLRougeVoluptéinLingerie Pink.Nails:YSLLaLaqueCouture inRoseRomantique.Hairby Label.M:Label.MPliableDefiner. Hair:Christiaan.Make-up:Val Garland.Nails:LorraineGriffin. Production:10-4Inc.Setdesign: JackFlanagan.Digitalartwork: R&D.Fashioneditor:Lucinda Chambers.Photographer: MarioTestino Regulars 78 EDITOR’S LETTER 92 VOGUE NOTICES Behind the scenes of the issue 107 VOGUE.CO.UK What’s online this month 287 CHECKLIST Spring colour comes into bud 397 STOCKISTS BACK PAGE MIND’S EYE JW Anderson’s inspirations In Vogue 143 WHAT’S NEW The people, places, ideas and trends to watch now 157 COVERSTORY DRESS UP, DRESS DOWN Now that casual dressing has gone luxe, shouldn’t dress codes catch up? Fiona Golfar dissects a new dilemma 171 RICH MIX Spring’s elaborate aesthetic is creating a new generation of heirloom buys 181 COVERSTORY TALES OF THE UNEXPECTED Magical combinations to win you street-style fashion points COVER LOOK 191 VIEWPOINT GOLDEN STATE OF MIND Calgary Avansino on how her “kooky” Californian ways became the norm 201 VIEWPOINT BLASTS FROM THE PAST Novelist Laura Barnett describes living with a “curious” – and life-altering – inheritance Vogue Shops 211 WHAT TO BUY NOW Cropped or slouchy, this season’s denim makes everyday dressing easy breezy View 231 BOY DONE GOOD Actor Jack O’Connell talks to Louisa McGillicuddy about taking tips from Jodie Foster and Angelina Jolie 238 VENUS RISING On the eve of a new exhibition, David LaChapelle charts Botticelli’s genius 245 DARKNESS FALLS Novelist Gillian Flynn tells Marisa Meltzer what comes after Gone Girl Spy 255 FLATS SEASON Put a (practical) spring in your step 265 COVERSTORYHIGH FIVE: THE NEW SEASON TRENDS From sleek sports to Latina colour, introducing the looks you’ll invest in 278 BE INSPIRED Military orders from our fashion shoot 280 COMPETITION VOGUE TALENT CONTEST 2016 Calling all young writers MARCH 2016 >64 “The only way to wear Alexander Wang’s souped-up track pants and bomber is with lashings of attitude” CAMPBELL’S COUP, PAGE 296 insideVOGUE
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  • 66. 64 Features 340 COVERSTORY ROYAL VARIETY For consistent sartorial excellence, no one comes close to the Queen. Drusilla Beyfus charts 90 years of regal style 348 KING OF THE HILLS Fashion mogul Leon Max says there’s no place like home. Elizabeth Day visits him in Hollywood to find out why. Photographs by Peter Ash Lee 366 OUT OF THIS WORLD Four women tell Sarah Harris how they developed their enviable taste. Photographs by Philip Sinden 374 GIVE AND TAKE Is the sharing economy for everyone? Communal refusenik Christa D’Souza takes on her toughest assignment yet. Illustration by Natasha Law Fashion 296 COVERSTORY CAMPBELL’SCOUP Edie Campbell comes from the best tradition of English roses – complete with a dash of eccentricity, says Fiona Golfar. Photographs by Mario Testino 312 GAME, SET, MATCH Graphics plus florals plus sportif is a combination made for the winner’s podium. Photographed by Craig McDean 326 COUNTRY LIFE Vogue’s rural romance takes sartorial advice from Thomas Hardy’s heroines. Photographs by Alasdair McLellan 354 ABSOLUTE BEARING Attention! Spring’s military style has a distinctly naval bent. Photographs by Josh Olins Beauty 379 RAINBOW EYES Multicoloured make-up made a splash on the catwalks. Nicola Moulton reports 384 ONE-SHEET WONDERS Sheet masks are the new beauty buzz. Lottie Winter finds seven of the best 386 BROW STUDY Fuller brows are back – but Lauren Murdoch-Smith is a long-time fan 391 WOOD WORK The new bunch of rose scents feature warm woody notes. By Lottie Winter 393 MARC’S MANIFESTO Marc Jacobs on the process of creating his new make-up line – as tried and tested by the designer himself 394 TAKE A SHINE Can you get a gel manicure at home? Vogue tests the kits that say you can insideVOGUE SUBSCRIBE TO Turntopage232for our fantastic subscription offer,plusfreegift “Marc Jacobs’s workaday raincoat gets a ceremonial update via a pearl- studded brooch” ABSOLUTE BEARING, PAGE 354 WOOD WORK Page 391 OUT OF THIS WORLD Page 366
  • 67. clinique.co.uk©CliniqueLaboratories,LLC New. Pep-Start™ Eye Cream Hydrates. Brightens. Smooths the way for makeup. Apply whenever. 9am. 9pm. Ready for anything.
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  • 69. COCO CRUSH CUFF IN YELLOW GOLD, RINGS IN WHITE OR YELLOW GOLD www.chanel.com 173 NEW BOND STREET - LONDON W1 SELFRIDGES WONDER ROOM - LONDON W1 HARRODS FINE JEWELLERY WATCH ROOM - LONDON SW1 FOR ALL ENQUIRIES PLEASE TELEPHONE 020 7499 0005
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  • 76. 152 –153 SLOANE STREET - LONDON SWIX 9BX chloe.com ©2016CHLOE.ALLRIGHTSRESERVED.
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  • 80. The rich mood of the new season on the catwalk, top, and, above, modelled by Edie Campbell (page 296). Above right: Craig McDean gets sporty on page 312. Right: Jean Campbell is photographed by Alasdair McLellan on page 326 O ur choice of cover star this month was informed by the spring/summer catwalk shows last year. More than ever, this season has a strong message – one of individuality, craftsmanship and idiosyncrasy. All those qualities are famously epitomised by British creativity, so who better to showcase the prevailing mood than home- grown beauty Edie Campbell (see page 296) – a model who, no matter which way she is styled,never becomes a catwalk cookie-cutter figure, but retains her own look. Although many of the London designers are great exemplars of this move towards a precious, almost one- off feel (take the prairie laces of Erdem, the rich embroideries of McQueen, the delicate fabrics of Simone Rocha), it was a trend that was by no means confined to Britain. From designers’ studios worldwide came an exotic blend, as Ellie Pithers outlines in her article “Rich Mix”(page 171).Gucci’s Personal EFFECTS 78 VALENTINO ERDEM ALEXANDER McQUEEN CRAIGMcDEAN;MARIOTESTINO;ALASDAIRMcLELLAN;JASONLLOYD-EVANS;MITCHELLSAMS Editor’sletter
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  • 82. Clockwise from below: the Queen’s inimitable style (page 340), as seen in 1979, 1951 and 1948 (with Princess Margaret); Vogue navigates the new dress codes on page 157, from Alexa Chung’s carefree style to catwalk formality Alessandro Michele was certainly one of the most celebrated exponents of this haute-heirloom style, but so too were Maria Grazia Chiuri and Pierpaolo Piccioli at Valentino, Miuccia Prada, and LouisVuitton’s Nicolas Ghesquière (albeit, in the latter case, with a harder- edged spin). All created beautiful clothes that will be the influencers of how we dress this summer. One woman who has successfully remained immune to the sensibilities of the catwalk is Her Majesty the Queen. Instead she has forged an inimitable style of her own, which demonstrates as deliberate and clear a vision of how she wants to present herself as any fashion figure. As a woman who has spent the majority of her life in the public eye, she has developed a relationship with clothes that shows enjoyment in the act of dressing as well as an element of armour for the role of figurehead. Drusilla Beyfus, herself a close contemporary of the Queen, visited the curator of the forthcoming exhibition of her clothes that will be shown around the country and got a look into the treasures that will be displayed. In “Royal Variety” (page 340), she describes how HM’s style has evolved during her life and reign, and offers up some fascinating observationsonhowshehasmaintained her unique grandeur. Style is an evergreen subject. Often difficult to pin down and always open to personal interpretation, good style manages to be both transcendent of fashion and absolutely of the moment. We talk about it often in the Vogue offices, and for this issue I asked Fiona Golfar to look at the question of what is considered smart dress now (see page 157). Of course, what she discovered is that the definition is more slithery than ever. Although we profess to not particularly care about dress codes, I for one have noticed a resurgence in dress-code guidelines on party invitations. In London – where expensive private members’ clubs are springing up weekly – there is certainly a tendency towards demanding dress decrees. When Dior launches a range of crystal-studded trainers, and Givenchy evening- wear resembles scraps of lingerie, where does that leave us as we navigate the sartorial maze? Although no longer a question of short or long, hats or gloves, chic dressing for special occasions will always be in demand, even if now satin jogging pants might be appropriate. But that’s what’s great about fashion – it keeps moving on, as do we along with it. DELPOZO GUCCI JASONLLOYD-EVANS;MITCHELLSAMS;GETTY;BARON/ CAMERAPRESS;HULTON-DEUTSCH/CORBIS;FEATUREFLASH 80 EDITOR’S letter
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  • 94. ALL ABOUT THIS MONTH’S ISSUE PETERASHLEE;PATRICKDEMARCHELIER; DAVIDLACHAPELLE CHICAGO BLUES Marisa Meltzer met novelist Gillian Flynn at Chicago’s Public Hotel for this issue (page 245), where the globe-light installation in the Pump Room restaurant, below, attracts a glittering crowd. But the Gone Girl author normally frequents a more low-key spot in the Windy City: “My favourite restaurant in all of Chicago is a small French place called Aquitaine.” 92 VOGUEnotices Designer Leon Max gives Elizabeth Day a guided tour of Castillo del Lago, his nine-bedroom mansion in the Hollywood Hills, on page 348. Max isn’t the first stylish occupant of the Mediterranean-style villa – for a 1989 issue of American Vogue, photographer Patrick Demarchelier captured the house’s owner, Madonna, striking a pose in her living room, above – the Material Girl’s brother had just decorated the house for her in less than a fortnight. KING OF THE CASTLE RENAISSANCE MAN Ahead of the VA’s Botticelli Reimagined show (March 5 to July 3), David LaChapelle traces the Renaissance master’s influence on his own work, from portraits in New York’s East Village to his famous recreation of The Birth of Venus (page 238). For his latest project, the Aristocracy series, below right, the photographer’s inspiration returns to the 21st century, as he turns his gaze to aviation: “I’m fascinated by today’s private-jet class and the separate world they inhabit from the rest of us.” A fine romance Laura Barnett considers the migraine gene in “Blasts from the Past” on page 201.The Versions of Us author has topped bestseller lists with her romantic debut novel – but which literary love stories have a place on her own bookshelves? “My favourites are those that turn the usual conventions upside-down – books like The Time Traveler’s Wife by Audrey Niffenegger, One Day by David Nicholls and, particularly, Breathing Lessons by Anne Tyler – probably my favourite novel ever.” 1989 2016
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  • 96. BRUCEWEBER;JASONBELL;DARRENGERRISH 94 VOGUEnotices Hardy perennial Jean Campbell, right, took on the role of a Thomas Hardy heroine in Alasdair McLellan’s “Country Life” (page 326). “We were inspired by Far from the Madding Crowd and Tess of the d’Urbervilles,” says Vogue’s Kate Phelan. “Jean was the only girl who could capture the romance of those narratives.” Raised on the Cawdor estate in the Highlands of Scotland, the 18-year-old model has fashion pedigree; her mother, Isabella Cawdor, once worked as a stylist alongside fashion director Lucinda Chambers. Christa D’Souza dips her toe into the “sharing economy” for “Give and Take” (page 374). Tap into this burgeoning industry with Vogue’s guide to the best sites and apps • Echoapplication.com: act the DJ while curating playlists for other music lovers • Borrow My Doggy: borrow a neighbour’s four-legged companion for a stroll • Lovehomeswap.com: trade your flat for an Irish cottage or Provençal villa •Vrumi.com: dubbed the daytime Airbnb of office space • Impossible.com: Lily Cole’s social network where users can gift acts of kindness SHARING IS CARING As the Vogue editors prepare for the autumn/winter shows this month, we look back at the team’s distinguished shuttle from last season: a canary-yellow G-class Mercedes, which dropped its fashionable cargo (from left, Nura Khan, Julia Hobbs, Emily Sheffield and Sarah Harris) at 50 shows and 23 presentations over five days. BIG YELLOW TAXI Queen’s gambit Drusilla Beyfus, above, charts the Queen’s style evolution in “Royal Variety” on page 340.The etiquette writer and journalist first met HM while attending a garden party at Buckingham Palace in the late Nineties. What did the politesse expert wear to the royal gathering? “A silk print frock by Dries Van Noten and low heels – a must in view of protecting the green lawns.”
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  • 109. Whatever your preferred social-media channel, be sure to get the latest news from Vogue first by following us on Instagram, Facebook, Twitter, Tumblr, Google+ and Youtube. Just search for BRITISH VOGUE and MISS VOGUE and join the club. Vogue 100: A Century of Style opens at the National Portrait Gallery on February 11, showcasing 100 years of remarkable photography. Follow us on Instagram – @BritishVogue – for daily glimpses inside the archives with our #Vogue100 posts. Hot shots ARTS LIFESTYLE Alexa Chung returns to Vogue Video screens this month with the latest installment of her Future of Fashion series. Play catch-up and revisit season one in full at Vogue.co.uk/voguevideo Take two VOGUE VIDEO Make Vogue.co.uk your go-to destination for all the fashion inspiration you could possibly need: you’ll find instant shopping edits, celebrity style hits and weekly guides to the season’s must-know trends. Step it up TRENDS GOOD SHOW! Visit Vogue. co.uk this month for your 360-degree guide to the autumn/winter 2016 catwalks. As Fashion Week begins in New York and travels through London, Milan and ultimately Paris, the Vogue team will report daily with galleries of every look from every show, as well as city guides, street- style updates and backstage beauty trends, plus the definitive Vogue verdicts on the season’s most talked about collections. CORINNEDAY;GETTY;JASONLLOYD-EVANS FOR THE WIN February plays host to the year’s most anticipated film and music award shows: the Baftas, the Grammys, the Brits and, lastly, the Oscars, on the 28th. As soon as 2016’s roll-call of nominees hit the red carpet, we’ll be reporting on the sartorial talking-points. Vogue.co.uk/spy 107
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  • 122. ALEXANDRA SHULMAN EDITOR-IN-CHIEF CREATIVE DIRECTOR JAIME PERLMAN DEPUTY EDITOR EMILY SHEFFIELD MANAGING EDITOR FRANCES BENTLEY FASHION DIRECTOR LUCINDA CHAMBERS EXECUTIVE FASHION DIRECTOR SERENA HOOD SENIOR CONTRIBUTING FASHION EDITORS KATE PHELAN, JANE HOW FASHION BOOKINGS EDITOR ROSIE VOGEL-EADES STYLE EDITOR NURA KHAN FASHION ASSISTANTS FLORENCE ARNOLD, BEATRIZ DE COSSIO FASHION BOOKINGS ASSISTANT KATIE LOWE SENIOR FASHION COORDINATOR PHILIPPA DURELL JEWELLERY EDITOR CAROL WOOLTON MERCHANDISE EDITOR HELEN HIBBIRD CONTRIBUTING FASHION EDITORS FRANCESCA BURNS, BAY GARNETT, KATE MOSS, CLARE RICHARDSON FASHION FEATURES DIRECTOR SARAH HARRIS FASHION NEWS EDITOR JULIA HOBBS FASHION FEATURES EDITOR ELLIE PITHERS SHOPPING EDITOR NAOMI SMART BEAUTY HEALTH DIRECTOR NICOLA MOULTON DEPUTY BEAUTY HEALTH EDITOR LAUREN MURDOCH-SMITH BEAUTY ASSISTANT LOTTIE WINTER FEATURES EDITOR SUSIE RUSHTON EDITOR-AT-LARGE FIONA GOLFAR COMMISSIONING EDITOR VIOLET HENDERSON ACTING COMMISSIONING EDITOR HANNAH NATHANSON FEATURES ASSISTANT LOUISA MCGILLICUDDY ART DIRECTOR FELIX NEILL ASSOCIATE ART DIRECTOR RASHA KAHIL ART EDITOR JANE HASSANALI PICTURE EDITOR MICHAEL TROW DEPUTY PICTURE EDITOR RACHEL LUCAS-CRAIG PICTURE RESEARCHER BROOKE MACE ART COORDINATOR BEN EVANS ASSOCIATE PRODUCER VENETIA VAN HOORN ALKEMA TABLET MOBILE PRODUCER LEE WALLWORK ART PRODUCTION ASSISTANT PHILIP JACKSON CHIEF SUB-EDITOR CLARE MURRAY DEPUTY CHIEF SUB-EDITOR HELEN BAIN SENIOR SUB-EDITOR VICTORIA WILLAN SUB-EDITOR STEPHEN PATIENCE SPECIAL EVENTS EDITOR SACHA FORBES PERSONAL ASSISTANT TO THE EDITOR CHARLOTTE PEARSON EDITORIAL ASSISTANT ELIZABETH WHITE PARIS COORDINATOR SIGRID LARRIVOIRE VOGUE.CO.UK EDITOR LUCY HUTCHINGS ASSOCIATE DIGITAL DIRECTOR EMILY SHEFFIELD DIGITAL PICTURE EDITOR TIM KNOWLES NEWS EDITORS LAUREN MILLIGAN, SCARLETT CONLON BEAUTY EDITOR LISA NIVEN DIGITAL EDITORIAL ASSISTANT KATIE BERRINGTON MISS VOGUE ASSISTANT NAOMI PIKE CONTRIBUTING EDITORS LISA ARMSTRONG, CALGARY AVANSINO, LAURA BAILEY, ALEXA CHUNG, CHRISTA D’SOUZA, TANIA FARES, NIGELLA LAWSON, ROBIN MUIR, CHARLOTTE SINCLAIR, PAUL SPIKE, NONA SUMMERS EDITORIAL BUSINESS MANAGER REBECCA SPRY ACTING EDITORIAL BUSINESS MANAGER CAMILLA FITZ-PATRICK SYNDICATION ENQUIRIES EMAIL SYNDICATION@CONDENAST.CO.UK DIRECTOR OF EDITORIAL ADMINISTRATION RIGHTS HARRIET WILSON INTERNATIONAL PERMISSIONS MANAGER ELEANOR SHARMAN Fashion Certificate Fashion Foundation Diploma Intensive Summer Course Miss Vogue Weekend Courses PLUS One Week courses in Journalism, Styling and Business www.condenastcollege.co.uk To find out more and apply visit: Based in the heart of central London the Condé Nast College of Fashion Design is now offering a two year BA Honours Degree in Fashion Communication. Our other inspiring courses include the:
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  • 132. 130 STEPHEN QUINN PUBLISHING DIRECTOR SENIOR ACCOUNT DIRECTOR SOPHIE MARKWICK SENIOR ACCOUNT MANAGER LEANDA MCCONNELL SENIOR ACCOUNT MANAGER LEXY BARTON DIGITAL ACCOUNT DIRECTOR CHARLOTTE HARLEY ACTING DIGITAL ACCOUNT MANAGER MATILDA McLEAN BUSINESS MANAGER JESSICA FIRMSTON-WILLIAMS PA TO THE PUBLISHING DIRECTOR DEVINA SANGHANI ACTING ADVERTISING ASSISTANT CHARLOTTE SUTHERLAND-HAWES FASHION ADVERTISEMENT DIRECTOR (EUROPE) SUSANNAH COE ACTING SENIOR ACCOUNT MANAGER (EUROPE) CLARA SCANDELLA ASSOCIATE PUBLISHER US SHANNON TOLAR TCHKOTOUA US ACCOUNT MANAGER KERYN HOWARTH HEAD OF PARIS OFFICE HELENA KAWALEC ADVERTISEMENT MANAGER (FRANCE) FLORENT GARLASCO REGIONAL SALES DIRECTOR KAREN ALLGOOD REGIONAL ACCOUNT DIRECTOR HEATHER MITCHELL REGIONAL ACCOUNT MANAGER KRYSTINA GARNETT EXECUTIVE RETAIL EDITOR VIRGINIA CHADWYCK-HEALEY DEPUTY RETAIL EDITOR TATIANA HAMBRO DEPUTY PROMOTIONS DIRECTOR POLLY WARRICK ACTING PROMOTIONS MANAGER KATHERINE PITCHER PROMOTIONS ART DIRECTOR DORIT POLLARD ACTING PROMOTIONS ART DIRECTOR ABIGAIL VOLKS ACTING PROJECT MANAGER MAJA HAVEMANN CLASSIFIED DIRECTOR SHELAGH CROFTS CLASSIFIED SALES MANAGER SARAH BARON DEPUTY CLASSIFIED SALES MANAGER ROYA FARROKHIAN SENIOR CLASSIFIED SALES EXECUTIVES SARAH HAWKINS, NATALIE MOSS-BLUNDELL, OLIVIA OSBORNE, HARRIET BUTLER, EMMA WILLEY, ZOE GAUNTLETT CLASSIFIED SALES EXECUTIVE JENNA COLLISON HEAD OF DIGITAL WIL HARRIS DIGITAL STRATEGY DIRECTOR DOLLY JONES DIRECTOR OF VIDEO CONTENT DANIELLE BENNISON-BROWN MARKETING DIRECTOR JEAN FAULKNER DEPUTY MARKETING AND RESEARCH DIRECTOR GARY READ ASSOCIATE DIRECTOR, DIGITAL MARKETING SUSIE BROWN MEDIA RESEARCH MANAGER HEATHER BATTEN GROUP PROPERTY DIRECTOR FIONA FORSYTH CONDE NAST INTERNATIONAL DIRECTOR OF COMMUNICATIONS NICKY EATON DEPUTY PUBLICITY DIRECTOR HARRIET ROBERTSON PUBLICITY MANAGER MELODY RAYNER ACTING PUBLICITY MANAGER RICHARD PICKARD CIRCULATION DIRECTOR RICHARD KINGERLEE NEWSTRADE CIRCULATION MANAGER ELLIOTT SPAULDING NEWSTRADE PROMOTIONS MANAGER ANNA PETTINGER SUBSCRIPTIONS DIRECTOR PATRICK FOILLERET DIGITAL MARKETING MANAGER SHEENA CHANDNANI MARKETING PROMOTIONS MANAGER MICHELLE VELAN CREATIVE DESIGN MANAGER ANTHEA DENNING PRODUCTION DIRECTOR SARAH JENSON COMMERCIAL PRODUCTION MANAGER XENIA DILNOT SENIOR PRODUCTION CONTROLLER EMILY BENTLEY SENIOR PRODUCTION COORDINATOR KARENINA DIBBLE COMMERCIAL SENIOR PRODUCTION CONTROLLER LOUISE LAWSON COMMERCIAL AND PAPER PRODUCTION CONTROLLER MARTIN MACMILLAN COMMERCIAL PRODUCTION COORDINATOR JESSICA BEEBY FINANCE DIRECTOR PAMELA RAYNOR FINANCIAL CONTROL DIRECTOR PENNY SCOTT-BAYFIELD HR DIRECTOR HAZEL MCINTYRE DEPUTY MANAGING DIRECTOR ALBERT READ NICHOLAS COLERIDGE MANAGING DIRECTOR PUBLISHED BY THE CONDE NAST PUBLICATIONS LTD, VOGUE HOUSE, HANOVER SQUARE, LONDON W1S 1JU (TEL: 020 7499 9080; FAX: 020 7493 1345). DIRECTORS JONATHAN NEWHOUSE, NICHOLAS COLERIDGE, STEPHEN QUINN, ANNIE HOLCROFT, PAMELA RAYNOR, JAMIE BILL, JEAN FAULKNER, SHELAGH CROFTS, ALBERT READ, PATRICIA STEVENSON JONATHAN NEWHOUSE CHAIRMAN AND CHIEF EXECUTIVE, CONDE NAST INTERNATIONAL ADVERTISEMENT DIRECTOR LUCY DELACHEROIS-DAY ASSOCIATE PUBLISHER SALLIE BERKEREY Enter our new home for original short films, series and documentaries, and gain exclusive access into the glamorous world of Vogue VOGUE.CO.UK/VOGUEVIDEO D ON’T MISS •••••••• ••••••••• ••••••• ALEXA CHUNG’S FUTURE OF FASHION SERIES ALASDAIRMcLELLAN
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  • 145. JASONLLOYD-EVANS;GETTY when Karl Lagerfeld transformed the Grand Palais into Terminal 2C of the Paris Cambon airport for Chanel’s spring/ summer ’16 show, he raised the bar on globetrotting style. Chanel Airways, departing from Gate No 5, demands paparazzi-proof sunglasses and a “Coco Case” (the new trolley bag). “We travel more and more. So why shouldn’t there be Chanel luggage?” says Lagerfeld. Functional, timezone-switching luxury fashion is now big business, with designers opting for a sharper, retro-tinged look. Prada showcases the appeal of the air-hostess skirt suit, while Gucci has revived the old-school monogram suitcase. Both could be straight off the pages of The Art of Flying (Assouline, £115). Perfect for today’s jet set, who hail their private jets using Fly Victor, the app that can have you in the air as little as four hours later. Choupette can come too, thanks to their “pets on jets” policy. PIECE OF HER HEART Janis Joplin’s tragically short life story makes for both cheering and heartbreaking viewing in Amy Berg’s documentary, Janis: Little Girl Blue, narrated by Cat Power. With access to Joplin’s most intimate letters, it’s the ultimate celebration of her storming voice, sexual magnetism and flamboyant style. From February 5 THE PEOPLE, PLACES, IDEAS AND TRENDS TO WATCH NOW NEW What’s Edited by JULIA HOBBS CHANEL Flight MODE PRADA GUCCI CHANEL RESIN AND METAL BROOCHES, £338 EACH inVOGUE 143
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  • 147. GETTY;MIRRORPIX;REXFEATURES never been much of a “club” person? You might be persuaded otherwise. London’s traditional- members’-club scene is undergoing a revival. The revamped Mark’s Club in Mayfair attracts a chic crowd who adore the upholstery as much as the punchy cocktail list. (Act like a regular – no one leaves without petting the club dog.) Wine-lovers have 67 Pall Mall, which is dedicated to oenophiles, while the Devonshire Club, a converted Regency warehouse in the City, has a blow-dry and nail bar and a Pilates studio. Should you want to make your club a home, the Arts Club in Dover Street has 16 hotel rooms, including a penthouse suite. Get on the waiting lists now. HN Rewind to Glastonbury 1995, and button your denim jacket all the way – the Oasis dress code of tracksuit, parka and bucket hat is back for summer, thanks to director Mat Whitecross’s forthcoming, as yet untitled film. ROLL with it MARK’S CLUB VERSACE WESGORDON SAINTLAURENT LIKE A CHARM Start hinting now about that last-minute Valentine’s gift – a diamond-encrusted amulet by jeweller Diane Kordas. Fill it with your own scent or a lover’s (Kordas’s contains Omnia Améthyste by Bulgari) and keep it with you wherever you go. Gold and diamond perfume amulets, from £2,850 each, Dianekordasjewellery.com s CLUB RULES ALEXANDERWANG 145 inVOGUE
  • 148. MAKE-UP:FLORRIEWHITE.RUTHWEARSJACKET,SAINTLAURENTBYHEDISLIMANE.DRESS,ALEXANDERMcQUEEN.JASONLLOYD-EVANS;MITCHELLSAMS h aircuts often invite comment, but few have elicited such a change of fortune as model Ruth Bell’s buzzcut. Like her twin sister May (who is also a model), the 19-year-old was formerly the owner of a waist-length, honey-coloured mane, until photographer David Sims suggested she shave her head for an Alexander McQueen campaign. When hairdresser Paul Hanlon chopped off her plait, Ruth’s agent was in tears. “She was panicking that this was about to ruin my career,” says Ruth, who went on to donate her hair to the Prince’s Trust to make wigs for children undergoing chemotherapy. Fast-forward six months, and that half a centimetre of hedgehog hair has propelled Ruth into the modelling spotlight. At the spring/summer ’16 shows, she walked for Gucci, Lanvin, and Versace; this season she stars in the Burberry campaign alongside her twin, who, while having eschewed catwalk work, has by no means been left behind. “We have been casting for Burberry for three years and finally got it,” says Ruth. This time around, the shaven head is softer than the spiky, punky versions sported by Annie Lennox in her Eurythmics days or Eve Salvail, Nineties muse of Jean Paul Gaultier. It isn’t meant to be an aggressive style statement – temper the look with a flyaway floral dress or a conservative cashmere sweater and a dewy complexion. The trend is gaining momentum: a swathe of baby-faced pin-ups have followed Bell’s lead. Kris Gottschalk buzzed her hair at the request of Riccardo Tisci for the Givenchy show, as did Louis Vuitton favourite Tamy Glauser, and twins Camilla and Giulia Venturini, who modelled for Tod’s. But does Bell’s mother approve? “No. My mum was definitely shocked and still dislikes it!” she laughs. EP THE BUZZ ON THE FASHION CIRCUIT? MODEL RUTH BELL’S FEARLESS HAIRCUT “My agent panicked that this would ruin my career” Ruth Bell. Photograph: Matthew Eades. Sittings editor: Lucy Bower Above: twins Camilla and Giulia Venturini. Below: Ruth Bell at Lanvin s/s ’16. Below left: Kris Gottschalk LANVIN CROPcircle 146 inVOGUE
  • 150. THESE BOOTS ARE MADE FOR WALKING Cowboy boots are back, minus the boho tagline. The new, slick offerings look best with Céline’s lingerie evening dress. This isn’t a vintage moment – buy box-fresh and keep them in mint condition. JAIMEPERLMAN;JASONLLOYD-EVANS;AVENUE3;ISTOCK Concrete JUNGLE “I’ve always wanted to live in a house like the Eameses did in the Sixties,” says Sophie Hulme of her indoor “jungle”.The handbag designer is not alone. Decorating with giant banana plants and palms is garnering a high-fashion following. Be inspired by Erdem’s and Céline’s Mayfair boutiques and go green with low maintenance, large-scale tropical flora. For designer Serafina Sama of Isa Arfen, it’s all about the Kentia palms, an essential part of the “decadent throwback” decoration of her Bayswater home. Start your collection now. The regeneration game Clapton, Forest Gate… Piccadilly? The regeneration game is now being played in central London’s tourist corridor. “It’s going to be progressive,” says Anthea Harries, of the Crown Estate. Dover Street Market relocates to Burberry’s former HQ in Haymarket this March. Expect the top-floor Rose Bakery to become the centre of gossip-trading for London’s fashion scene. The jewel in the crown of the Estate’s 10-year renewal plan, however, is St James’s Market – a collection of independent dining spots launching this month. Banana plants in Céline’s Mount Street store Peace lilies in the studio of Isa Arfen designer Serafina Sama Vogue creative director Jaime Perlman favours fig trees and palms A lush alocasia at the Erdem boutique on South Audley Street CELINE PAULJOE COACH PHILOSOPHYBY LORENZOSERAFINI LOUISVUITTON 148 inVOGUE
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  • 159. FEATUREFLASH;GETTY FROM RIPPED JEANS AT CLARIDGE’S TO JEWELLED TRAINERS IN THE BOARDROOM, IS IT TIME TO RETHINK THE RULES ABOUT WHAT “SMART” MEANS? FIONA GOLFAR INVESTIGATES i don’t know what to wear!” I hear it all the time. From weddings to weekends, boardrooms to black tie, it’s a sartorial minefield out there. The good news is that there are no rules any more; the bad news is that working out appropriate dress codes can now seem more complicated than cracking Fermat’s Last Theorem. Gone are the days of dark tailored suits in the boardroom, of black tie London’s chicest bar, the Fumoir in Claridge’s, a dimly lit jewel box with deep burgundy leather-lined walls. Both times, the women I met were wearing highly fashionable, blindingly expensive ripped jeans, and on both occasions the adorable albeit embarrassed staff told us that ripped jeans were not “encouraged”. They were far too polite to ask us to leave, but the message was clear. Dress UP,dressDOWN meaning a long dress, and if you happen to be asked to something as quaintly old-fashioned sounding as “drinks”, what exactly – I ask in the name of fashion – is one supposed to wear between 6pm and 8pm,especially if coming from the office? We live in a brave new world, or so we are told. We can wear what we like. But is that true? Twice recently I’ve met friends after work for cocktails in Alexa Chung wearing Erdem Leandra Medine in Rosie Assoulin Summer wedding Miroslava Duma in Delpozo separates Cocktail now The new nine- to-five inVOGUE 157
  • 160. Here’s another problem. Chanel, Miu Miu, Valentino, Céline and Dior have all told us we can wear their skate shoes and decorated trainers with our equally high-end fashion purchases – a real winner in terms of a style message, but try getting a twinkling-trainered tootsie through some of Britain’s smartest doors. The Dorchester and the Ritz both have strict dress codes: no jeans, trainers or sportswear.So too,the newly reopened Mark’s Club or 5 Hertford Street, London’s chicest members-only clubs; the women working at the latter are dressed in taffeta frocks. Taffeta! The crunching sound of which I haven’t heard since 1987. Meanwhile, upon organising “drinks” at Annabel’s, an email pinged in to remind me what won’t be acceptable. The roll-call includes leather or suede, T-shirts, leggings, officewear, trainers, deck shoes, casual or cowboy boots – all of which makes up roughly 80 per cent of my wardrobe. Someone out there needs to have a rethink. Once, the rules were clear. 1. A figure-flattering LBD took you almost anywhere (but how old-fashioned does that idea feel now?). 2. Wear gloves to town. 3. Take your watch off in the evening. 4. Matching bags and shoes are good.5.Long – and often velvet – is appropriate when changing for dinner in smart country houses. And so on. Role models also helped us along the way. They helped us to visually make sense of the way we dressed for occasions. Grace Kelly epitomised the perfect princess bride; her wedding in 1956 was watched by 30 million people aroundtheworldandherstyleemulated by women everywhere. Years later, Carolyn Bessette Kennedy ushered in a new kind of chic at her 1996 wedding, changing the mode of dress for a generation; no lacy tiered-cake confection – instead, a simple strappy bias-cut silk-crêpe gown by Narcisco Rodriguez. She wore flat Manolo Blahnik sandals, her hair pulled back into a loose knot. Not what you would expect from America’s new princess. Kennedy had rewritten the rules and set the bar for the seemingly effortless style (nothing ever really is) of the Lauren Santo Domingos of today. Vogue’s guide to the new dress codes Wedding Try getting a twinkling- trainered tootsie through Britain’s smartest doors A sundress brimming with personality – and with the power to go from day to night – is a winner for weddings in warmer climes For formal weddings that require tailoring, opt for a retro-style skirt Yes, you can wear black to a wedding: head to toe or partnered with a white skirt The LBD is still a chic option. Rule of thumb: the simpler the silhouette, the better quality the fabric must be TIPS What’s SMART NOW Lurex trouser suits, plunging blouses and trailing scarves say Seventies glamour, ideal for decadent nights that go into the small hours Cocktails Mine’s a Cosmopolitan: architectural lines in monochrome work for bar- hopping urbanites A traditional gown speaks volumes; avoid black, a lighter colour is more youthful and ribbons are the flourish of the season Black tie You can wear short – as long as it’s a knee- length style with a couture sensibility For the woman who wears the trousers, a skinny black style partnered with a trophy blouse resets the agenda DELPOZO OSCARDE LARENTA LANVIN ALTUZARRA DOLCEGABBANA GUCCI HERMES RODARTE STELLAMcCARTNEY JASONLLOYD-EVANS;MITCHELLSAMS 158 inVOGUE
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  • 162. JASONLLOYD-EVANS;PAULBOWDEN;GETTY This side of the pond, our own Diana, Princess of Wales, shrugged off her Sloane Ranger frilled collars and started to play with fashion for formal occasions, much to the delight of the designers of the day Catherine Walker, Caroline Charles, Bruce Oldfield, even Gianni Versace. The message was that one could be more relaxed and informal. Although we think of them as old- fashioned, rules were often helpful. We knew where we were. Now we are supposed to be thrilled that we can “dress as we like”, but we don’t always have the answers. When it comes to being smart, we often have to decipher exactly what that means. Designers and consumers look to street style on Instagram for inspiration. This is Britain, and we have always had a playful relationship with fashion. Alexa Chung, Miroslava Duma and Dasha Zhukova share the way they dress for work, parties and the red carpet on their posts. Would Alexa wear a long dress to a black-tie affair? Yes,of course; she’s often photographed in romantic full-length Erdem or Valentino gowns, but equally, she could show up in the shortest Chloé babydoll dress and look perfectly appropriate. The trick is that she always leaves her hair “undone”. FINISHING TOUCHES 1Layer up necklaces of varying lengths and mix gold and silver together. Combine with a neckerchief for extra points. 2Wear a coat. Properly. Propping over the shoulders is now over. Furthermore, wear your coat all night. It suggests that a) it’s too precious to be banished to the cloakroom and b) you have a better invitation waiting around the corner. 3Regardless of age, shoulders are what to reveal now. 4A crisp white shirt is timeless. Now wear with sleeves pushed up and pop one side of the collar. A knotted front is also having a revival. 5Wear a large and interesting cocktail ring on every finger à la Valentino’s Maria Grazia Chiuri. Start collecting. 6A man’s gold or stainless-steel watch is always in style, but appears more feminine when worn with a mix of shiny gold bangles. 7Pull hair back into a tight, simple ponytail when wearing long statement earrings. 8Midi-skirt-and-sweater combos work best in contrasting prints. 9Stand up straight; good posture has the power to make anything look infinitely better. 10Don’t default to red. Try the New French – a French manicure on shorter nails. Meanwhile, Mira Duma flits between boyfriend denim and Russian demi- couture seemingly regardless of the event, while Dasha will wear prim Prada to a football match. These days, invitations often won’t state a dress code in the way they once did. “Black tie” is often replaced with “dress glamorous” or “dress colourful” – far more fun and much less restrictive. Emilia Wickstead, whose classic pieces have a simple modernity, says her clothes are just as wearable in the boardroom of a bank. “You can easily wear one of my dresses or skirts to work. Many of my clothes skim the leg just between the calf and the ankle; it’s a great length to get you from day to night. Partner it with a pair of brogues and look perfectly professional, then if you need to go out from work, simply add costume jewellery and heels and you are all set to go to a gallery opening or smart dinner.” Hannah Rothschild, non-executive director at Rothschild investment trust and chairman of the trustees at the National Gallery, has a work schedule that often keeps her busy from breakfast until bed.“I wear a lot of well-cut fit-and-flare dresses by Oscar de la Renta; they’re stylish and classic. It also helps that they never seem to crease – vital when you have to look smart all day.” De la Renta’s designs often have a stiff lining in the hem which offers structure and shape. “I love silk brocade pieces, or those that are shot through with silver thread. An element of embellishment isn’t too much during the day and great come night-time.” Rothschild has to attend at least one event a week, either in the art or business world. “I might add some jewellery and heels to what I wear during the day if I go from the office.” For black-tie events she does wear long; Etro, Dries Van Noten or McQueen are her go-tos. These days, women wear the bright colours of Peter Pilotto, Roksanda, or Gucci in the boardroom if they wish. No longer do they have to adhere to the idea that a demure suit is office- smart. As Vogue contributing editor Lisa Armstrong says, “The point is, if you are at the top you can make your own rules. So if we are to be led by example, the workplace now is a much brighter place. Serious business doesn’t have to mean serious clothes.” It’s easy to be thrown when out of one’s sartorial comfort zone. What to wear if you are not in the habit of going to the country for a weekend,invited by people whose ancestors have been doing this for generations? You don’t have to try to emulate. Adding a jewel- colour cashmere jumper to a Dries Van Noten skirt should get you through an evening, or try a frothy silk blouse with Burberry’s smart naval trousers. Most importantly, never look back to history for guidelines; instead, look around you and see what works. I did just that recently at a fashion dinner, hosted by Lauren Santo Domingo. What was she wearing? An LBD by Emilia Wickstead. I’m not kidding. Furthermore, she looked spectacular, which brings me to the conclusion: there are no rules. Wear anything with authority and everyone – including yourself – will believe in it. Q Lauren Santo Domingo in Emilia Wickstead OSCARDELARENTA “If you are at the top, you can make your own rules” Dior’s embellished trainers ESSIE NAIL POLISH IN BALLET SLIPPERS, £7.99 SUSAN FOSTER RING, £9,880, AT MATCHES FASHION.COM 160 inVOGUE
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  • 173. JASONLLOYD-EVANS;MITCHELLSAMS 171 inVOGUE W hen was the last time you wore an heirloom? A finely worked piece of jewellery handed down from generation to generation, or an exquisitely embroidered evening dress inherited from a grandmother? Perhaps the word heirloom has thrown you, conjuring up images of precious but dusty fabrics. Or perhaps, like me, you’re thinking along the lines of tomato varieties rather than tiaras. Heirlooms, though, are the very thing for now. Having shelved the polished codes of luxury – that clean, discreet aesthetic which reigned for so long – the spring collections were rich and opulent,boasting highly worked details.They signalled a return to craft but without the make-and-do connotations. Leather, silk and frothy tulle were all worked uponlaboriouslyandlovingly,embellishedandembroidered to offer a charmingly eccentric flavour. Take Gucci, where creative director Alessandro Michele’s heirloom impulse is stronger than most. A keen collector of antique textiles and upholstery, and a needlepoint fan (when in London, he picks up kits at Liberty), Michele has steeped his Gucci girl in heritage. His spring collection was a riot of traditional Italian craft. Jewel-tone satin came sprinkled with rhinestones that took a day to hand- embroider; lace gowns presented sequined parrots that necessitated 18 hours of sewing; tapestry flowers were Rich MIXORNATE DETAIL WITH A SUBVERSIVE TWIST HAS CREATED A VERY MODERN HEIRLOOM AESTHETIC FOR SPRING. BY ELLIE PITHERS DRIESVANNOTEN LANVIN VALENTINO
  • 174. JASONLLOYD-EVANS;MITCHELLSAMS “This flamboyant woman wants to enjoy life. She dares to mix things” XXX inVOGUE hand-stitched on to a black leather biker jacket; and lush 18th-century brocades sported ruffled, sequined hems. Even the accessories had been painstakingly crafted: one silk rose, worn at the neck (right), took two days to make. Craft techniques were equally abundant at Valentino, Oscar de la Renta and Lanvin. At Dries Van Noten, the designer’s familiar jacquards came with showgirl paillettes arranged in wing-like configurations. “I was thinking about the flamboyant woman – she’s not just eccentric, because that can mean old and with 25 cats,” says Van Noten. “She wants to live, she wants to enjoy life. She knows how to mix things, and dares to.” That ability to mix is paramount, according to Aleks Szymanska, visual trends analyst at the Future Laboratory. “Designers are adopting these very traditional techniques, but giving them a new form of expression, one that is almost subversive. Gucci’s collection was full of gorgeous, precious detailing, but the references were a surreal combination of the animal kingdom, maps, atlases and a sugary Sixties element – and that mix felt very modern.” The impulse to frame idiosyncratic craft within a contemporary context has hit the art world, too. Sotheby’s reports that a growing number of its modern art collectors have begun buying Old Masters. “Collectors are looking to acquire works that speak to a different moment in time and have a historical lineage,” says Olivia Thornton,director and senior specialist of contemporary art at Sotheby’s London. “They’re buying traditional works that fit with their contemporary aesthetic, but also collecting work by contemporary artists who use craft techniques. Artists such as Tracey Emin, who uses appliqué and stitching on her blankets, Alighiero Boetti, who employs artisans from Pakistan and Afghanistan to execute his conceptual work, and Rosemarie Trockel, who harnesses knitting and tapestry, are all really desirable.” the Future Laboratory sees the trend as part of a broader shift in the luxury market towards storytelling. “The big brands have a challenge to attract the attention of consumers who are seeking an emotional connection with what they buy,” says Szymanska. “Traditional craftsmanship can’t do that on its own, especially since terms such as ‘craft’ and ‘artisanal’ have become empty marketing buzzwords used to sell beer and chips. But when those craft techniques are used in a playful, cheeky way, you can build on a story, and that creates desire.” Erdem, who has built his brand on craftsmanship, understands it needs to come with a backstory. His cinematic spring collection (which saw girls tramping through mud to a crackling soundtrack of Emily Dickinson poetry)wasinspiredbytheHomestead Act of 1862, whereby American women gained the right to own a tract of land, but only if they lived alone on it for five years. “I’d been reading about prairie madness, a psychological condition that developed as a result of the act,” he says. “I was intrigued by the idea of isolation,how these women survived on the prairie.” His fabrics literally told the women’s story. “Everything was very worked on and developed,but often the base fabric was very poor: I loved the contrast of hand-embroidery on a basic cotton ticking stripe, or a fabric we developed to look like raffia that frayed beautifully.” That subtlety extended to the memento mori of women’s faces woven into broderie anglaise.“I wanted it to be naive, but presented in a dark way,” he says. The front row looked visibly moved at the finale; consider that emotional connection fully forged. Tabitha Simmons, a self-confessed needlepoint fanatic, welcomes the new craftwork. She has been working with a seventh- generation English silk mill to produce delicate embroideries for her shoes. “With social media, everything is on such a quick turnaround and people have such short attention spans. I feel people now want items that they can’t find everywhere else and that are the highest quality possible.” Incidentally, the silk mill is the same one that produced the weaving for the Queen’s coronation coaches. That’s the kind of geeky twist that heirloom lovers dream of. If it all sounds a bit overwhelming, don’t panic.“Accessories are a gateway to those maximalist collections,” says Sarah Rutson, vice president of global buying at Net-a-Porter. “You can be in a minimal dress but with a beautiful embroidered shoe or tapestry handbag. It’s that softly, softly approach. How to wear it now is about tempering everything – a brocade skirt worn with a white shirt and a slip-on shoe. It’s about balancing out the ornateness.” Perhaps those richly worked details are best worn in unexpected form, as one Vogue editor discovered when she found a metallic embroidered bird the size of a baby’s fist sewn into the lining of her new black Gucci blazer. There was no mention of it at the time of purchase. What could be more chic than an heirloom detail that no one else can see? Q GUCCI ERDEM OSCARDELARENTA
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  • 179. ©2016COACH® SPRING 2016 Glovetanned Saddle Bag in Flax, Patchwork Bandit Shoe in Hickory/Brick, Combo Coat on Rianne coach.com
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  • 183. LAYERING IS BOLD, SURPRISING AND REAPS REWARDING RESULTS. BY JULIA HOBBS AND NAOMI SMART TALES of the UNEXPECTED JUMPSUIT + LONG SLEEVE While spindly booties elevate a khaki jumpsuit for daytime polish, it pays to keep it real. Wear a long-sleeved skater tee beneath rolled-up sleeves to ward off the last of the winter chill and add unexpected tomboy edge. UNDER OVER Work the lingerie trend without revealing any skin. A leather bralet worn over a skinny tunic top is a case in point. ARIES COTTON T-SHIRT, £100 FRAME SUEDE JUMPSUIT, £1,040, AT COLETTE.FR Shift the preppy shirtwaister up a gear: a black leather wrap skirt adds forward- thinking definition. SKIRT +DRESS NIKE LEATHER SNEAKERS, £75 Annette Weber at Paris Fashion Week Stylist Anya Ziourova at the Paris shows Maximalist layering in London for the s/s ’16 shows KEJI COTTON TOP, £195, AT NET-A- PORTER.COM EACH OTHER LEATHER BRA TOP, £360 JOSEPH LEATHER SKIRT, £1,395 TOME SILK SHIRTDRESS, £985, AT MODA OPERANDI.COM Pair with JIMMY CHOO SUEDE BOOTS, £795 Pair with PRADA PYTHON AND SUEDE BAG, £2,120 PETER PILOTTO CREPE SKIRT, £770, AT BROWNS Pair with 181 inVOGUEGEORGEANGELIS;VICTORIAADAMSON;JASONLLOYD-EVANS;PIXELATE.BIZ
  • 184. GEORGEANGELIS;JASONLLOYD-EVANS;PIXELATE.BIZ A breezy, off-the- shoulder blouse instantly converts a plunging party dress into a workable, everyday look. The final touch? Carefree, tumbling hair. OFF-SHOULDER + V-NECK Pinstripes aren’t just for work. Take the boardroom staple out of office with a structured bustier and handbag, and punchy kitten heels. BANDEAU OVER SHIRT DRESS + JEANS Turn a summery floral dress into a year-round staple. Gently flared jeans put a Nineties grunge spin on abbreviated bohemian styles. RUPERT SANDERSON LEATHER LOAFERS, £445 Fashion buyer Annabel Rosendahl at Milan Fashion Week a/w ’15 Norwegian blogger Hedvig Opshaug in Gucci THAKOON CHIFFON DRESS, £9,425, AT JOSEPH MANSUR GAVRIEL MAHARAM LANALUX CLUTCH, £750 ZIMMERMANN SILK DRESS, £2,091 As seen at London Fashion Week CARVELA LEATHER CLOGS, £99, AT HARRODS PAIGE DENIM JEANS, £216, AT SQUAREONE LONDON.COM Pair with MILLY COTTON TOP, £235 Pair with RALPH LAUREN COLLECTION LEATHER BAG, £1,625 MOSCHINO PATENT-LEATHER SLINGBACKS, £470 VERSACE COTTON SHIRTDRESS, FROM £588 Pair with DONNA KARAN NEW YORK CANVAS AND CREPE TOP, £860, AT NET-A-PORTER.COM 182 inVOGUE
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  • 193. WHEN CALGARY AVANSINO MOVED TO LONDON IN 2000, HER HEALTHY CALIFORNIAN WAYS WERE SEEN AS “WEIRD”. HOW TIMES HAVE CHANGED i f you can believe it, there was a time when coconut water wasn’t available at Pret A Manger, when quinoa wasn’t stocked at Tesco, and when people were yet to regularly debate which cold-press company delivers the “greenest” juice. This was the London that welcomed me from California 15 years ago. Unlike many Americans, my husband and I weren’t moved here on assignment. We had made a conscious decision to pull up roots and make the big leap across the pond because we wanted to live the European life, make British friends and work for British companies. We were ready to immerse ourselves in London life. Give or take a few cultural idiosyncrasies, we figured, we shared acommonlanguage – how different could it be? Very, as it turned out. You might say I was a typical 25- year-old California girl at that time: into yoga, smoothies and books about meditation, although I definitely was not a hippy. God, no! I got regular manicures, loved fashion, shaved my armpits and always wore a bra. In California, there was nothing extreme or “weird” about me. Awareness of healthy food, exercise and spirituality were commonplace. Even if you weren’t particularly passionate about the topics, they were part of the West Coast lifestyle and vernacular. All my friends worked out – mostly at 6am, before work – and no one batted an eyelash if you ordered a plate of veggies for dinner.That was my norm. On the freezing morning of December 28, 2000, we arrived in this great city with all the optimism that only a fresh start can grant you. As I wandered around our new neighbourhood with a copy of Time Out in hand, I stopped in cafés to warm up and write lists. I had to get a job, join a gym, decide on a local grocery store that would have everything I needed, find a hairdresser, a yoga studio and a local farmers’ market; all the comforts that would make me feel at home in a foreign land. Don’t get me wrong, I wasn’t one of those annoying expats who want it to be “just like home”, I embraced the cultural differences, but there were elements of my Cali It became clear that mayonnaise was, over here, practically a food group lifestyle that I had mistakenly assumed I would easily import into my life here. How can a girl live without organic vegetables, almond milk and a good trainer? Seriously. Within days of moving to London it became clear that mayonnaise was, over here, practically a food group: tuna with mayo (or more correctly mayo with a little tuna); stacks of white- bread sandwiches slathered in it; sweetcorn and mayo on baked potatoes; chips dipped in it; and salads “dressed” with it. I quickly realised that I was going to be cooking at home, a lot. For this I needed the ingredients I was accustomed to back in California. But there wasn’t much organic produce in the supermarkets, no designated “health-food aisle”, no Top: Calgary, with a plate of (healthy) chocolate, cranberry and buckwheat cookies. Above: an early-morning hike on the Santa Barbara mountain trails 191 Golden STATE of mind VOGUEviewpointKRISTINPERERS;INSTAGRAM/CALGARYAVANSINO
  • 194. INSTAGRAM/CALGARYAVANSINO almond butter or good avocados, and definitely no quinoa or kamut. Heeding the advice of a neighbour, I headed to Borough Market. This would be the answer, I hoped – a mecca of fresh, organic produce from countryside farms with friendly purveyors and like-minded people. It was not. First of all, I’m sorry, but it’s underneath the railway line! With puddles of stagnant rainwater underfoot, it smelt like kebab meat and there were more stands selling pies than organic vegetables. I tried to like it, I really did, but that isn’t an open-air farmers’ market, people! Finally I found something resembling what I had at home in two stores: Fresh Wild and Planet Organic, both in Notting Hill. They stocked products such as soya milk, wild rice, raw nuts, organic yoghurts, tofu, organic and grass-fed meats and wholegrain breads at a price. I made a weekly pilgrimage there after my yoga class at the Life Centre, only to realise yet another cultural difference: people in London most definitely didn’t wear their workout clothes outside the workout environment. I might as well have been walking around in a G-string for the number of disapproving looks I received.These days wearing the right brand of fitness wear in public is a bragging right, but back then it was verging on improper. So like any good émigrée I started changing in the dressing room with the rest of my class. In 2000 there were few gyms and exercise classes, so I shimmied around London in search of new ways to sweat. In the end, I decided running was the most universally accepted exercise. But I seemed destined to stick out. Before moving to Britain I had begun learning about the power of intervals from a trainer who had taught me all variety of hops, skips and jumps to do between running spurts. So I danced and pranced around Hyde Park as bemused dog- walkers looked on. Another example of a Californian exercise that doesn’t translate: on our first weekend in the country with friends I was told to wear wellies for our afternoon walks. I’m a hiker – we’re talking tall peaks, sweat, hiking boots on, lots of calories burnt – and now I was going to walk in the rain in flabby, gripless rubber boots? I found myself longing for cardio like others long for cream buns. afew months after arriving in London, I landed a job at Vogue and quickly became acutely aware of two things: my wardrobe; and being the only American in the office. I would arrive at work still flushed from the gym, while my colleagues were still nursing their coffees. Exercising, caring about your body and what you ate (and, God forbid, talking about these things) just wasn’t very English. It wasn’t long before I gained the status of office health nut – helped by the actual nuts (raw almonds, brazils, walnuts) that I kept in my desk drawer. Since I didn’t much like the typical lunchtime offerings in the nearby sandwich bars (see: mayonnaise) I started bringing in leftovers for lunch (cue more eye-rolls), and a smoothie for my mid- morning snack, which one of my more brazen colleagues referred to as “diarrhoea”. I was officially weird for the first time in my life! But Californian habits die hard. I continued to do things my way, hunting down the foods I wanted to eat and making do without the ones I missed. Regardless of the high-maintenance rep I was establishing for myself, I still asked for my dressing on the side, my spinach steamed instead of sautéed, and: “Is there cream in this soup?” Eventually, over the years, London caught up with me. Real farmers’ markets started popping up all over the city, Daylesford opened a raw food café and Whole Foods debuted in 2007. I can’t quite articulate how exciting this was to me. Slowly but surely what was once kooky became part of the everyday vocabulary. First it was quinoa, then coconut water, chia seeds and sprouting. I would smile and nod when people said to me,“You should try green juice, it’s amazing!” I didn’t feel smug, just happy that an interest in healthy living was gaining momentum. Suddenly instead of exercise being deemed a form of torture, people were keen to try “the new class” or join a swanky new gym. And if you didn’t already have, or desperately want, a Vitamix you were judged hideously out of touch.Within a few years my “weird” habits became of particular interest to those around me. What did I eat for breakfast? What did I feed my kids? How often did I work out? What did I snack on? Jump ahead another five years, and I’ve written a book on those very topics – wow, I’d never have guessed that a decade ago. Keep It Real not only offers simple recipes and practical advice on all things healthy but also chronicles my commitment to wellness as a lifestyle, never a diet. Along the way, Britain has taught me some lessons, too. In California the obsession with body image and perfection is at the very least tiring and at worst destructive. It’s more balanced, less extreme here, more focused on having a good time. God forbid you should take yourself too seriously. I admit that I have felt pressure to be “perfect” a lot of my life (which is another article altogether), and it’s counter-productive. Not until the last few years have I truly (and I mean it, honestly) learnt to love my body. Just simply show it love! Not because it is fit, hard, thin or looks good in clothes; just because it’s mine and I’m healthy and happy. To be well, strong, able to have three babies and get up every day feeling good is a blessing. I feel more balanced about food than I ever have, and it’s freeing. I do eat bread and pasta, and I enjoy desserts – just not all the time. Moderation is the mantra. Living in Britain has made me understand that health is about balance, not deprivation, and that being healthy has as much to do with your mind as it does with your body. That said, I still don’t eat mayonnaise. Q “Keep It Real” (Yellow Kite, £25), by Calgary Avansino, is published on February 18 Slowly, what was once kooky became everyday 192 VOGUEviewpoint From top: Calgary, pregnant with her third child, at London Fashion Week; berry picking in California; showing her love of kale
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  • 203. HAIRANDMAKE-UP:CAROLYNGALLYER.LAURAWEARSSHIRT,HAIDERACKERMANN; TROUSERS,ALEXANDERMcQUEEN.BOTHATBROWNS.SHOES,MANOLOBLAHNIK Blasts from THE PASTBESTSELLING NOVELIST LAURA BARNETT’S “CURIOUS INHERITANCE” IS A DISMAL BEAST. BUT HOW WOULD SHE FEEL IF IT DISAPPEARED FOREVER? aJuly day in south London in 1989: clammy, golden, smelling of hot pavements and car exhaust. It is my birthday, and I am giddy on cake and presents and the fact that, tonight, all my seven- year-old dreams are going to come true: my mum is finally taking me to see Andrew Lloyd Webber’s Cats. For months, I have been obsessed with the show. I could hardly be more excited if Webber himself knocked on the door of our flat and broke into a personal,idiosyncratically harmonised rendition of “Happy Birthday”. There’s one problem: my mum is in bed in her room,curtains closed against the light, pressing the left side of her face into her pillow. She is deathly pale and can hardly bear to open her eyes. “Just let me sleep,” she says, and I do, though it is my birthday, and surely she should be thinking about me. “I’m not sure I can go tonight,” my mum tells me softly some time during the afternoon, and I am inconsolable, raging at the injustice of it, until she rouses herself, dresses, and calls us a cab into town. At the theatre, I watch the stage, transfixed by the wild-haired dancers in brindled catsuits, while my poor mum holds her head in her hands, shielding her eyes from the pounding, strobing lights. Even now, I feel guilty about that day. My mother’s affliction, migraine (a savage, throbbing pain, usually on one side of the head, lasting up to three days and bringing with it a sensitivity to light, sound and certain foods), is my own. I now know what it is for my vision to disintegrate,moment by moment, into fragments – lurid, hallucinatory, like the endlessly shifting patterns in a kaleidoscope. I know how it is to feel that pain – which my mum has always described as being like an iron bar thrusting into her skull, but which, for me, feels more like being stabbed repeatedly with a blunt knife. I am now the one who, at best, must lie down in darkness and silence once a fortnight; and, at worst, has a migraine almost every day, forced to withdraw from the world entirely until, finally and blissfully, the pain loosens its grip. My first migraine arrived when I was 17. I know this because it is noted in my medical records,but I remember nothing about it. I do, however, recall taking one of my final exams at university with a migraine, the lines on the paper blurring through a mist of pain; and, in my twenties, pressing my head against a toilet door for cool comfort during my long days in the office as a newspaper journalist. I had a migraine on my wedding night. I’ve missed countless meetings, parties, birthday dinners. I think of migraines as a tax on fun, triggered by alcohol, excitement, travel, late nights: all the things that, as a 33-year-old woman, I feel I ought, by rights, to be enjoying to the full. As a novelist and freelance writer, I am very lucky to be able to work from home, shaping my timetable around the unpredictable periods of rest and withdrawal; I would simply, in the worst phases, not be able to hold down an office job. My husband and I worry about having children, and how I would cope with the sort of situation my own mother faced, all those years ago, on my seventh birthday. Migraine is a miserable, tricky condition, long misunderstood – only recently have medical researchers begun to unpick the physical processes believed to underpin it – and much “It is a link between me and all the women whose genes I carry.” Laura Barnett at Four Hundred Rabbits, SE19. Sittings editor: Nura Khan. Photograph: Rick Morris Pushinsky 201 VOGUEviewpoint
  • 204. abused. I have lost count of the times I’ve heard migraine used as an excuse for just lolling around with a hangover, or descriptions of migraine as somehow synonymous with hysteria; suffered by highly strung women overcome by self-perpetuating attacks of nerves. It is also often dismissed as just a bad headache, but it is far more than that. Migraine is, as the National Migraine Centre (NMC) in London – an invaluable charity providing migraine sufferers, or “migraineurs”, including me, with specialist medical advice – points out, a disorder of the brain. Its precise cause is still not fully understood but is believed to involve the emission of neurotransmitters by an area of the brain with a brilliant tongue-twisterofaname,thetrigeminal ganglion. These neurotransmitters stimulate the dilation of blood vessels, which then cause the pain. About one in seven people in Britain suffers from migraines, with women up to three times more likely to get them than men; the World Health Organisation lists migraine among the 20 most disabling lifetime conditions. Migraine seems to run in families. In his classic 1971 book Migraine,neurologist Oliver Sacks (though sceptical about this himself) cited several studies indicating that up to 65 per cent of migraine patients are likely to have migraineur relatives. In women, this heredity may be linked to the menstrual cycle; often a governing factor in attacks, and another reason women seem so much more susceptible to migraine than men. That certainly reflects my experience. Every woman on both sides of my family has suffered from migraine: picture a family tree, shifting down through the generations, and there, at the bottom, am I, fusing two long lines of migraineurs into one.Migraine is a link between me and all the women whose genes I carry; it is my own curious inheritance. Throughout their adult lives, both my grandmothers often retired to their darkened bedrooms. My maternal great-grandmother, Eleanor (a formidable woman with six children, a laundry business and a husband who toured America as a trick rider in Buffalo Bill’s circus), called her migraines “sick headaches”, and worked on through them, stoical, a cold compress held to her temple under a tightly wound scarf. Her daughters suffered similar fates. As a child, my mum remembers dreading Mondays – washday, when Eleanor spent all day boiling and mangling piles of laundry – as her own mother would invariably have a migraine by the end of the day. l earning to live with migraine is, at its root, about acceptance: struggle against the pain and it will only dig in its claws. Part of that, for me, has been about trying to see migraine as part of who I am; and also observing the fascinating links between migraine and creativity. Countless artists and writers have, over the centuries, been migraineurs. Van Gogh is believed to have suffered the unsettling visual disturbances known as the “aura” – that strange fragmentation of the vision that I’ve experienced many times and can, now I come to think of it, see in Van Gogh’s fractured, pulsing brushwork. Elvis, Elizabeth Taylor, Whoopi Goldberg, Joan Didion, Siri Hustvedt, Hugh Jackman: the list of creative migraineurs is long and diverse. So, I’ve long wondered, does having migraine make you more likely to be creative, or does being creative bring on a migraine? I’m increasingly aware of a connection between my most intense periods of work – those frenetic “flow states”in which the words seem to pour from me and I begin to lose track of space and time – and my migraines. These bursts of creativity are often, it seems, followed by a migraine attack. Dr Jud Pearson, a GP and headache specialist at the NMC, has an interesting theory about this. As most migraineurs gradually learn, each attack can usually be divided into clear phases, including the “prodrome”, which precedes the onset of the pain and is,Dr Pearson points out,the phase in which an artist or writer may feel at their most productive.“The prodrome can produce feelings of euphoria and increased energy,” she says,“so it’s easy to see how that might connect with intense periods of creativity.” She isn’t convinced, however, that migraine and creativity necessarily go hand in hand.“Up to 20 per cent of the population as a whole have migraine,” she says. “So of that number, it’s logical that a good many will be artists and writers. But many different types of people suffer from migraine.” This is true even of the women in my own family. I am the only professional writer or artist among us, and though I may carry some of their character traits (my paternal grandmother’s melancholic streak, my mum’s tendency to worry), there is nothing to suggest that our migraines might have their source in some innate, unchanging aspect of our personalities. I am far luckier than them, too, in terms of the possibilities available for managing the condition.There is still, as yet, no cure, but we migraineurs are taught to keep diaries of our attacks, to help identify – and then avoid – the triggers that may be causing them. And recent advances in medical understanding have ushered in a group of painkillers called triptans that actually do blunt the pain, something my great-grandmother (scarf tied pirate-like across one eye) or my mother (forced to endure the torture of the strobe lighting and noise of a musical) could only have dreamt of. I have also, in the last few months, begun taking a new preventative medication that I hope will reduce the frequency and intensity of my attacks. Should this, or anything else, ever offer me the chance to rid myself of migraines for good, I would certainly not miss them. But I would be aware, too, that some connection – some genetic quirk, passed from woman to woman along the branches of my family tree – would have been severed. This curious inheritance would no longer be mine to bear; and perhaps some small part of me would mourn its disappearance, even as I celebrated my liberation from a lifetime of recurrent and debilitating pain. Q “The Versions of Us”, by Laura Barnett, is published by Weidenfeld Nicolson at £7.99 I think of migraine as a tax on fun, on all the things that, as a 33-year-old, I feel I ought to be enjoying to the full Laura, aged four, with her mother 202 VOGUEviewpoint
  • 205. CELEBRATE YOUR VALENTINE’S MOMENTS  Discover the new Valentine’s collection, share your wishes with your loved one at pandora.net
  • 206. Making clever additions to your wardrobe now will effortlessly stretch your style arsenal into summer – let MS Autograph show you how Photographs by Max Farago Styling by Charlotte Collet DAWN A NEW
  • 207. VOGUE PROMOTION Transitioning between seasons, long sleeves and light layers come into their own – offering coverage and comfort in equal measure Opposite: scarf-print dress, £59. Leather brogues, £59. Both MS Autograph Master the mannish appeal of louche, relaxed tailoring and the world is your sartorial oyster. From work to play, nothing looks quite as cool This page: longline jacket, £85. Peg trousers, £49.50. Leather brogues, £59. All MS Autograph. Hair: Ramsell Martinez. Make-up: Fara Homidi. Production: Joy Asbury. Model: Eliza Cummings
  • 208. Liberatingly loose and airy, crisp cotton poplin is a rite of passage into warm weather. Leave the iron out of the equation for added élan Off-the-shoulder top, £39.50. Denim culottes, £39.50. Leather brogues, £59. All MS Autograph MAX FARAGO
  • 209. VOGUE PROMOTION Wearing a tonal hue from head to toe elevates your look in an instant. Opt for structured apron waists and lightweight knits to capture the mood of the moment Chunky tape sweater, £45. Belted wide-leg trousers, £45. Leather brogues, £59. All MS Autograph
  • 210. It’s hard to beat the quality of MS’s butter-soft leathers at their accessible price point. Deliciously soft, yet beautifully structured, these are pieces that bind outfits together Sleeveless suede jacket, £249. Rustic belted linen trousers, £49.50. Leather brogues, £59. All MS Autograph
  • 211. MAX FARAGO Summertime, and the living is easy: let your look imitate art and opt for unbuttoned necklines and loose-fitting lengths in louche scarf prints Scarf-print blouse, £39.50. Scarf-print trousers, £45. Leather brogues, £59. All MS Autograph.Visit Marksandspencer.com VOGUE PROMOTION
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  • 213. Photographs by SCOTT TRINDLE NOW What tobuy Smart move: super-refined next-level denim makes everyday style a cinch Wool top, £142, The Kooples. Cropped jeans, £149, Hugo Boss. Leather belt, £110, LK Bennett. Leather loafers, £235, Longchamp. Hoop earrings, throughout, £45, Thomas Sabo. Hair: Alex Brownsell. Make-up: Hiromi Ueda. Nails: Jenni Draper. Production: Rosco Production. Model: Pooja Mor. Fashion editor: Nura Khan Kind of BLUE 211 VOGUEshops
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  • 215. Roomy fits demand a fresh approach: Isabel Marant’s white cotton sailor jeans signal modern elegance. Just add crisp piecrust shirting Military jacket, £390. Sailor jeans, £180. Both Isabel Marant Etoile. Ruffle-neck top, £295, Mother of Pearl, at Harvey Nichols. Suede shoes, £245, Russell Bromley. Leather bag, £495, Aspinal of London SCOTTTRINDLE VOGUEshops
  • 216. SCOTTTRINDLE Cast last year’s bohemian look aside. In authentic indigo, the cropped kick-flare is a neat match for a gentlemanly grey blazer Cotton blazer, £425, Daks. Striped cotton shirt, £165, AG, at Harrods. Striped cotton blazer, £375, Polo Ralph Lauren. Cropped jeans, £260, Paige, at Selfridges 214 VOGUEshops
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  • 219. Shop the details that lift denim out of downtime. Topstitching elevates the simplest cigarette leg into a wholly chic affair Contrast seam T-shirt, £275, JW Anderson. Jeans, £175, Sandro. Ponyskin shoes, £265, Philosophy by Lorenzo Serafini SCOTTTRINDLE 217 VOGUEspy
  • 220. SCOTTTRINDLE Rethink skater style. You’ve had the shoe, now it’s all about the trouser – but this isn’t a sweatshirt moment. Wear Dries Van Noten’s tomboy silhouette with tailoring instead Wool blazer, £275, Weekend Max Mara. Hooded twill shirt, £425, Margaret Howell. Jeans, from £210, Dries Van Noten. Patchwork denim bag, £240, Michael Michael Kors 218 VOGUEspy
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  • 222. SCOTTTRINDLE Styling the new, oversized proportions is easy. Pull on a stiff, shrunken denim jacket and decorate with a regal brooch Denim jacket, £90, Pepe Jeans. Brooch, from £110, Rada. Ribbed silk body, £304, La Perla. Tweed trousers, £220, By Malene Birger. Leather slides, £235, Theory. Leather bag, £695, MCM 220 VOGUEspy
  • 223. sisley-paris.co.uk L’Intégral Anti-Âge The new generation Sisleÿa Global Anti-Âge. A worldwide success, the star Sisley anti-ageing cream. 2016: Sisley reinvents this cult cream by integrating a major technological breakthrough. A cocktail of innovative active ingredients to work against the visible signs of not only, genetic and environmental ageing, but also, for the first time ageing due to lifestyle and habits. In one single product skin is smoother firmer, denser, glowing. Visibly younger looking.
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  • 225. Aries’s patchwork pencil skirt is the straight-talking office essential to wear now Cotton blouse, £29.50, Limited Edition, at Marks Spencer. Asymmetric denim skirt, £275, Aries. Leather belt, £147, Frame at Neilson Forest Row SCOTTTRINDLE 223 VOGUEspy
  • 226. SCOTTTRINDLE The Americana trend welcomes a classic match. What better to pair with a ruffled blue-jean skirt than a patriotic red blouse? Silk shirt with neck tie, £325, Bella Freud. Denim skirt, £120, Miss Sixty. For stockists, all pages, see Vogue Information 224 VOGUEspy
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  • 233. after driving down from his Derbyshire home, Jack O’Connell arrives at a studio in north London carrying his own bags, opening the door for others and navigating the room in a flurry of “bless you” and “cheers, boss”. The actor lives with his mother and sister in the home he bought them with the pay from Unbroken, Angelina Jolie’s Second World War epic. The Oscar- winning actress (with whom he’s now on “Angie” terms) cast him last year in the lead role as the formidable Olympic distance runner and prisoner of war Louis Zamperini. During filming she flew his family out for dinner on-set; he returned the favour, he says, by GUTTERCREDIT Boydone GOODHaving drawn on his own past for the bad-boy roles that got him noticed, Jack O’Connell now looks to Angelina and Jodie for guidance, he tells Louisa McGillicuddy JACKWEARSSHIRT,APC Jack O’Connell: “I used to want to fight the whole system…” Grooming: Mike Gorman. Sittings editor: Beatriz de Cossio. Photograph: John Spinks 231 VOGUEview
  • 234. *Offer closes March 15th, 2016. The offer and gift is subject to availability and limited to UK addresses. The rate of 6 for £12 is limited to direct debit payments and will be renewed at the rate of 6 for £19.50. CALL 0844 848 5202 REF CVO15369 OR VISIT WWW.VOGUE.CO.UK/SUBSCRIBE/CVO15369 Subscribe and receive a MUA Makeup set. This limited- edition MUA Gift Set is just what you need to add some radiance to your make-up routine. Packed full of products that will highlight, brighten and add colour to your look. MUA is famous for high-quality products at amazing prices. For further information visit www.muastore.co.uk Subscribe and receive a free MUA Makeup gift set, RRP £24!* Subscribe to VOGUE 6 PRINT + FREE iPAD AND iPHONE EDITIONS + FREE GIFT* ALL FOR ONLY £12 FREE GIFT* RRP £24
  • 235. “Often Jodie wouldn’t even say anything, she’d just ‘do’ the emotion” SKINS (2009-13) STARRED UP (2013) ’71 (2014) UNBROKEN (2014) de-mining fields for her charitable projects in Cambodia. O’Connell was a relative newcomer at the time, and Jolie’s patronage shot him to $150 million-grossing box-office success. Despitethefast-tracktoHollywood, today he travels with only one assistant (rare) and arrives on time (rarer still). He chats to everyone – including a ginger tomcat belonging to Vogue’s photographer – and looks you dead in the eye as he speaks. He pays attention when you talk, too, asking about the Irishness of my surname – because his father, who died when Jack was 18, hailed from Kerry, and he goes there often. The scrupulous manners are worth noting because it wasn’t long ago that Jack O’Connell had a reputation for being… unpredictable. He’d meet journalists bleary-eyed from the night before. That Jack was juggling performances at the Royal Court (playing a student sleeping with his teacher in Scarborough) with appearances in an actual magistrates’ court (he remains vague on the details, but the misdemeanours almost cost him his American visa). But that’s all in the past. Now 25, he’s bright-eyed and clean-shaven, auburn hair worn in a half-crew cut – last season it was longer and slicked back in a Prada menswear campaign. We meet in a nearby pub (initially vetoed by his publicist as not a very Jack 2.0 venue), but he orders water. “I used to want to fight the whole system, make a difference,” he says with a frown. “But I don’t think you can do that in one interview or one fuckin’ rant.” The only hint of a wayward past is a giant “Jack the lad” tattoo on his right bicep. It came from a frequent comment in his end-of- term reports at his Catholic school. He left an atheist with two GCSEs – one of them in drama. In person, he is polite but cautious. Following a few ill-advised Twitter outbursts, and some increased tabloid attention thanks to a rumoured romance with Cara Delevingne, he deleted his social-media presence last year; now he has a private Instagram account under a fake name. He speaks with honesty, but prefaces it with apologetic disclaimers such as “Not to get wanky and pretend I’m an artist, but…” or “Not to be clichéd, but…” He’s been in the business, involved in “all this malarkey”, as he puts it, for 10 years, and speaks as if it’s been a lifetime. “I want to be regarded seriously as an actor, and I feel a lot clearer about what I want to achieve,” he says in his slow, syrupy accent. b y O’Connell’s own admission, if the acting hadn’t worked out “I could’ve just reared off the tracks”.But the chequered adolescence has enriched his rough-and-ready- type roles: a National Front recruit (This Is England), a gang leader (Eden Lake), a juvenile offender (Starred Up) and a soldier (’71). He’s been chiselled into fighting shape as an Athenian warrior for 300: Rise of an Empire, then lost a stone and a half to be the withered Zamperini in Unbroken (today there’s not an inch of fat to his sinewy 5ft 8in frame). The compelling vulnerability in all his roles has earned him comparisons to a young Brando – and, last year, a Bafta newcomer award. Do the high-octane screen performances take their toll? “Of course,” he nods, fiddling with a pack of Marlboros. But he’s quick to point out the alternative: “Being out of work. I don’t like to spend too long not working.” During one quiet spell, he worked on a farm shovelling horse manure; “very grounding”,as he puts it. O’Connell landed his latest part – the lead in Jodie Foster’s Money Monster – over a transatlantic Skype session. “We looked at many, many actors,” she emails from LA, “but within seconds of Jack launching into Kyle, we barely looked back.”The Wall Street drama sees him play a deranged viewer who, after losing his life’s savings, takes the host (George Clooney) of a stock-market-tips television show hostage. “There’s a complicated guy in there,” continues Foster of O’Connell, “who clearly has dealt with the consequences of his own emotional demons. Maybe that’s what makes him so hard-working and grateful. I feel so blessed to have been able to stand in the room with him and cheer on his enormous talent.” “If I wasn’t as panicked or traumatised as she wanted, she’d often come over and wouldn’t even say anything, she’d just ‘do’ the emotion for me,” he says with a laugh, about Foster’s technique. “We got to a stage where I could kind of understand whatshemeant.”He’sconsidering following that well-trodden path of actor-turned-director, like Foster and Jolie, and setting up his own production company one day.“You can create jobs then and find talents, offer opportunities like the ones I had,” he says. But right now he’s most excited – and anxious – about returning to the stage in March in The Nap, a new play about a troubled snooker professional, for which he’ll be commuting to Sheffield’s Crucible Theatre each night – and has been studiously practising his lines since before Christmas. “I’m probably overdoing it, but it’s my first dabble at theatre for a while, and I want to hit the ground running,” he says, brow furrowing. “When I came out of the Royal Court in 2008, I felt like I’d learnt more in that theatre than I had in my entire career. I want to repeat that scale of learning, you know?” If those teachers weren’t already eating their words, Jack the lad’s now a thoroughly model pupil. Q JACKWEARSSWEATER,SUNSPEL.JOHNSPINKS;JACKBARNES;THEKOBALCOLLECTION;REXFEATURES “I feel a lot clearer about what I want to achieve,” says O’Connell 233 VOGUEview Role model
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  • 237. SUPIMA COTTON V-NECK TUNIC £39.90 SUPIMA COTTON MESH POLO £29.90 CASHMERE BLENDED BODY £29.90 OXFORD GAUCHO PANTS £29.90 ONLINE 11PM 3RD MARCH IN-STORE FROM 18TH MARCH
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  • 240. DAVIDLACHAPELLE,ASTOLDTOHANNAHNATHANSON.DAVIDLACHAPELLE;CATWALKING.COM;BRIANDOUGLAS; LANDMARKMEDIA;MINISTRYOFCULTURALHERITAGEANDACTIVITIESANDTOURISM;REXFEATURES Venus RISING b otticelli’s Venus standing in an open shell with her knee bent and head tilted in The Birth of Venus (1484-86), above, is one of the most celebrated female nudes in the history of art. I’ve always been influenced by Renaissance sculpture and painting. Right back in the early Eighties in New York, when I used to shoot my friends at my East Village squat, I remember a roommate trying to recreate Michelangelo’s Dying Slave pose. With my work The Rebirth of Venus (2009), top, I wanted to put a contemporary take on Botticelli’s masterpiece and celebrate the beauty of the female form in its unashamed nudity. The noblewoman Simonetta Vespucci posed as Venus for Botticelli. Considered a great beauty (legend has it Botticelli was in love with her), she also modelled for his Venus and Mars, which hangs in the National Gallery and was the inspiration for another of my works, The Rape of Africa (2009),for which Naomi Campbell sat as Venus. I chose Czech model Hana Soukupová to pose for The Rebirth of Venus. She was doing a series of photographs with me in Hawaii, where I live, and I just thought she was beautiful. Traditionally in paintings the Celebrity photographer David LaChapelle explains why the works of Sandro Botticelli are as fresh today as they ever were FILM TREND: TRUMBO (out now) Set in Fifties America, Helen Mirren plays right-wing gossip columnist Hedda Hopper with callous grit and an array of exotic hats, which Hopper, above right, famously wore. Meanwhile, Tilda Swinton adopts a clipped English accent for her Hopper portrayal in Joel and Ethan Coen’s HAIL, CAESAR! (February 26), in which she tries to untangle the mysterious kidnapping of fictional Baird Whitlock, the biggest star in the world, played by Coen favourite George Clooney. SPOTLIGHT (out now) Rachel McAdams and Mark Ruffalo play real-life investigative reporters Sacha Pfeiffer and Mike Rezendes, members of the Boston Globe’s Pulitzer Prize-winning Spotlight Team, which helped to expose widespread sexual abuse within the Massachusetts Catholic Church. THE END OF THE TOUR (out on DVD) The five-day interview between Rolling Stone writer David Lipsky and the brilliant novelist David Foster Wallace was never published. This film is about that intense 1996 encounter, when Lipsky (Jesse Eisenberg) followed Wallace (Jason Segel) on tour for a piece on “What it’s like to be the most talked about writer in the country right now”. MILES AHEAD (April 22) “I could write some bullshit… but I’d rather hear it in your own words,” says Rolling Stone reporter Dave Brill (Ewan McGregor) to Miles Davis (Don Cheadle). McGregor’s role is based on journalists who strove to interview Davis in the Seventies. HN seashell represented the female sex; instead of having Hana standing on a shell, one of the god-like young men is holding a conch in front of her, while the other blows into a shell, trumpeting her arrival and proclaiming her beauty. It was a very spontaneous shoot, which we set up on a bluff in the rainforest overlooking the South Pacific. I know the spot well and I’d always wanted to shoot there. We started at sunrise, and by the time we’d finished we were all totally sunburnt and looked like lobsters. It took a while to shoot because it was such a precarious location; everyone was balancing with sticks and ladders. The tropical setting was not exactly the Mediterranean that would have inspired Botticelli’s palette; the colours are punchier. The ribbons, which break up the frame, are a reference to another Botticelli painting, The Three Graces (circa 1482), in which it’s as if the painter’s three female figures are dancing round a maypole. I loved the ribbons’ energy – it’s almost like there’s a scribble across the photograph. During Botticelli’s time a lot of his so- called pagan art, depicting classical gods rather than one Christian God, was thought to be immoral and was burnt by the Florentine friar Savonarola – the Donald Trump of the time. But Botticelli’s work wasn’t pagan, it was about the human condition. His Birth of Venus is about pure beauty; give it time and it will transport you away from the darkness of the world. Which is why his work, with its themes of conflict and beauty, continues to be relevant to this day. Q “Botticelli Reimagined” is at the VA, SW7, from March 5 to July 3 A Botticelli- inspired Dolce Gabbana s/s ’93 dress is on display at the VA show 238 VOGUEview On the same page From Boston Globe and Rolling Stone writers to two portrayals of the notorious American gossip columnist Hedda Hopper, journalists have become the scoop in a string of new film releases
  • 242. K A T E M O S S P H O T O G R A P H E D B Y D A R I A W E R B O W Y F O R S P R I N G 2 0 1 6 E Q U I P M E N T F R . C O M
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  • 247. EJASONWAMBSGANS/CHICAGOTRIBUNE Darkness FALLS illian Flynn has been living in the dark confines of her book Gone Girl since it was first published in 2012.That’s what happens when your novel about marriage, lies and murder becomes a colossal success, putting you with the ranks of authors like Stephen King or JK Rowling who found global fame and huge fortunes. But before Amazing Amy, before the 10 million copies sold worldwide, and the 2014 film by David Fincher that took nearly $400 million at the As the novel she describes as “more frightening than Gone Girl” comes to the screen, Gillian Flynn tells Marisa Meltzer why what’s closest to us is scariest of all box office, there was Libby Day, the heroine of Flynn’s second book, Dark Places. This month, Gilles Paquet- Brenner’s film adaptation of that book is released, starring Charlize Theron as the unlikeable yet gutsy Libby,a woman set on avenging a horrible crime. “My first book, Sharp Objects, is the most gothic, Gone Girl is the most modern, but Dark Places is the most frightening and unnerving.” Flynn is perched on a sofa in a café in Chicago, the city where she lives with her husband Brett Nolan, a lawyer, and their two children: a son named Flynn, five, and Veronica, one. Dark Places, which was published back in 2009, tells the story of Libby Day, sole survivor of the murder of her family in Eighties Kansas. Twenty years later, Libby is still getting by as the girl who survived, living off the dwindling proceeds of a fund in her name. She’s so desperate for money – and also, perhaps, a human connection of some kind – that she agrees to make an “It’s a strange little book,” says Flynn of Gone Girl, the novel that brought her worldwide fame. “There’s no one really to root for” g 245 VOGUEview
  • 248. GETTY;CAROLYNCOLE/LOSANGELESTIMES/CONTOURBYGETTY appearance at an underground Kill Club, where true-crime aficionados gather. (In the film, look out for Lizzie Borden in the Kill Club scene, a Hitchcock-style blink-and-you’ll- miss-it cameo from Flynn herself.) If the underlying menace of Gone Girl was the recession and tabloid culture, then in Dark Places it is blue-collar poverty, satanic worship, paedophilia. Today Flynn is dressed in a black shirt and trousers, her long auburn hair spilling over her shoulders, but it’s a look that comes across as more basic than severe. In fact, she has a rather innocent and sweet appearance and is quick with a joke, which makes the whole business of how she writes such twisty thrillers so confounding. “Dark Places is set pretty close to that area of country that In Cold Blood is,” she says, referring to Truman Capote’s classic true-crime book. Growing up in Kansas City, that story haunted her. Dark Places explores an equally horrifying premise, in which a family is murdered one night in the middle of Kansas. Her story is set during the Eighties farm crisis in America, where many small farmers could no longer afford to run their business and their land was foreclosed. The midwestern United States has its own brand of menace, different from noir Los Angeles or gritty Manhattan. “It’s that big, open sky, and you get a sense of your vulnerability; you’re exposed to the weather and animals and human beings in a way that you aren’t in a city.” Flynn is known for writing unlikeable, untrustworthy female anti-heroines, which drew Theron to the project. “I loved her lack of sentimentality and it was so refreshing for me to read something with an unabashed and fearless take on a female character,” Theron tells me later. She and Flynn have done their fair share of bonding during the project and while doing press together. (“I can’t say it’s the greatest thing for one’s ego to be constantly matched with Charlize all day long,” Flynn quips.) “The thing that struck me most about Gillian is how normal and funny and down to earth she is,” says Theron.“I mean, how do such dark things come out of someone so light?” i t’s true that, when she was a girl, Flynn’s family life was achingly normal, with a film professor father and a mother who taught reading. Her parents still live in the house she grew up in and her older brother lives close by.“Kansas City is not the place of huge dreams. It was like: dream, moderately,” jokes Flynn. She attended university in Kansas and then the prestigious Medill School of Journalism at Northwestern University, near Chicago. She thought for a spell that she wanted to be “a hardboiled crime reporter” but instead, after graduating, took a job at Entertainment Weekly. As a young woman, she loved thrillers and horror.“The old-fashioned kind of Hitchcock thrillers as opposed to ‘the serial killer’s out there’ sort of thing. I don’t read as much of those, it doesn’t scare me as much. To me, the scarier thing is that something very wrong is happening very close to you.” She wrote her first two books while still on staff at Entertainment Weekly. They were critical successes – Sharp Objects won two Crime Writers’ Association Dagger awards, and was shortlisted for an Edgar Allan Poe award, the prestigious mystery prize – but much more modest in terms of sales. Before Dark Places even came out, she was laid off from her magazine job, which set up the premise for Gone Girl – a New York media couple,both made redundant, move to the heartland to recreate themselves. “We were hoping it would build on my audience. I knew I had written a book that I would like to read but it wasn’t like we were all preparing for this thing to happen,”she insists now. “It’s a strange little book. There’s no hero, in that there’s no one really to root for. It’s like a whodunit where you find out who did it in the middle.” Advance word before publication from the sales force was that booksellers were liking this“strange little book”, and it debuted in June 2012 at number two on the New York Times hardcover-fiction bestseller list. When Flynn found out, “I was in Arizona getting ready to do a bookstore reading.I remember I was wading back and forth in the pool, I was like, great!” But she assumed sales would drop off the next week. Instead, Gone Girl went to the top of the list and stayed there for eight weeks. Breathless reviews and positive word of mouth turned it into a literary juggernaut. David Fincher, the director of The Social Network and The Girl with the Dragon Tattoo, snapped up the rights for a reported $1.5 million, with Flynn working on the script. Watching actors recite her dialogue was surreal, she says, but for an author also an exercise in ego management. “You have to let go of that ownership feeling when you hear an actor say a line in a certain way that’s been in your head for three years.” She and Fincher immediately embarked on a second project together, a series called Utopia, a conspiracy thriller set in the near future, starring Rooney Mara. But late last year, before it could be filmed, it was cancelled by HBO, the network that owns the rights. Its future is uncertain. “It sucked,” she sighs. “I mean, partly the pure opportunity it cost – I could have written the next novel in that moment – but I don’t regret it because working with Fincher is like a masterclass.” The 44-year-old author isn’t giving up on Hollywood quite yet, though she will remain living in Chicago. Her next screenplay is for 12 Years a Slave director Steve McQueen, a heist thriller based on the 1983 television series Widows, about four women who come together to pull off the crime left unfinished by their late husbands. “It’s not done wacky, like, ‘Can these crazy ladies do it? Like, you know, with their high heels and their periods?’ They’re badasses, so it’s four good roles for women of all different ages.” “Serial killers don’t scare me. The scary thing is that something very wrong is happening close to you” From top: Gillian Flynn at the Hollywood Film Awards in 2014; Flynn with Gone Girl stars Rosamund Pike and Carrie Coon; Nicholas Hoult and Charlize Theron in Dark Places 246 VOGUEview
  • 249. W W W . M E S D E M O I S E L L E S P A R I S . C O M