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- 49. C O N TIN U ED > 5 6 62 ENDORSEMENT 64, 66 MASTHEAD 68 EDITOR’S LETTER 74 UP FRONT When Liesl Schillinger struck up a friendship with a woman half her age, she found herself inspired to let go of old habits and chase new dreams 84 EXCERPT A book out this month looks back at the work of Phyllis Posnick, Vogue’s Executive Fashion Editor for nearly three decades 94 LIVES After witnessing genocide and sexual enslavement by ISIS in 2014, a group of Yazidi women has formed a battalion to fight back. Janine di Giovanni reports 100 NOSTALGIA Brigitte Bardot recalls her past as an insouciant style icon. By Leslie Camhi Talking Fashion 106 ALL EYES ON The fashion world is unanimous about getting out the vote this season 108 WHAM GLAM Brandon Maxwell, once an East Texas dreamer, is now a red-carpet-ready master of unabashed opulence 110 COME UNDONE Classic men’s shirting gets retooled, tucked, and tailored 112 EARNING HIS STRIPES Thom Browne flies the flag with a collection for Moncler 114 HEIRESS AND GRACES Eddie Borgo introduces his fine-jewelry line for Tiffany & Co. 120 FULLY STACKED Diamond bracelets set the tone for fall 124 CHANGE AGENTS Rachel Chandler and Walter Pearce launch the Midland agency 130 PARADISE FOUND Tropical prints signal a seasonless optimism 134 TNT Elisabeth TNT navigates the go-go New York collections with breathless verve 136 THE HAMISH FILES 147 WOMEN: NEW PORTRAITS By Annie Leibovitz Beauty & Health 159 FLECKS APPEAL Can glitter transcend its craft-party past? By Jessica Kerwin Jenkins 162 SEE CHANGE Hubble aims to revolutionize the way we get contact lenses ACTORS RUTH NEGGA (IN MARC JACOBS) AND JOEL EDGERTON (IN A THEORY SHIRT AND HICKEY FREEMAN PANTS). PHOTOGRAPHED BY MARIO TESTINO. LOVE STORY, P. 189 Fightingfor EACHOTHER 50 V O G U E N O V E M B E R 2 0 1 6 V O G U E . C O M November
- 55. Cover Look FUNNYFACE Emma Stone wears a Michael Kors Collection sweater. To get this look, try: Infallible Pro-Glow Foundation in Classic Ivory, Colour Riche Pocket Palette in French Biscuit, Brow Stylist Definer in Brunette, Voluminous Feline Mascara in Black, Voluminous Liner Noir. All by L’Oréal Paris. Hair, Shay Ashual; makeup, Aaron de Mey. Details, see In This Issue. Photographers: Mert Alas and Marcus Piggott. Fashion Editor: Tonne Goodman. 164 BRINGING UP BÉBÉ How did your child’s skin-care products get even chicer than yours? 170 LIFT OFF Climbing takes Meaghen Brown to new heights of fitness PeopleAre TalkıngAbout 174 TALENT Matt Smith returns to the small screen in Netflix’s lush series The Crown 176 ART Michael Rosenfeld Gallery presents“Benny Andrews: The Bicentennial Series” 178 UP NEXT Alia Shawkat stars in Search Party 178 DESIGN Carolina Irving debuts a line of velvets 178 DANCE Pharrell Williams arrives at BAM with “Rules of the Game” 180 MOVIES A pair of films offer close encounters 180 TRAVEL A Miami moment 182 THEATER Nia Vardalos gives advice in Tiny Beautiful Things 186 BOOKS Zadie Smith tells a sprawling story of friendship and ambition 186 TELEVISION Characters follow their hearts in two new shows Fashion &Features 189 LOVE STORY Ruth Negga and Joel Edgerton star in Loving, about an interracial couple’s fıght for their right to marry. By Danzy Senna 204 WHAT TO WEAR WHERE Cozy up to wild, playful knits 212 ON WITH THE SHOW Emma Stone sings and dances her way through an old-fashioned movie musical. By Jason Gay 222 SCHOOL OF LIFE Ben Platt heralds the next generation of Broadway talent. By Adam Green 225 UNDER PRESSURE Why has anxiety become so common among the young? By Rob Haskell 228 BUILDING A DREAM Plum Sykes invented her perfect farmhouse, complete with old-world charm and modern comfort 236 MAN OF THE WORLD Can Anthony Bourdain bring an ambitious food hall to Manhattan? By Oliver Strand 242 CHOP TO IT Lena Dunham reflects on home-cut hair 244 MOMENT OF THE MONTH Power puff 246 BRIGHT YOUNG THINGS The 2016 CFDA/Vogue Fashion Fund finalists (plus Gigi Hadid). Index 258 FOLK TALES Breathe some whimsy into your Thanksgiving celebrations 262 INTHISISSUE 264 LASTLOOK PLUM SYKES (IN OSCAR DE LA RENTA) WITH HER HUSBAND, TOBY ROWLAND, AT THEIR HOME IN GLOUCESTERSHIRE. PHOTOGRAPHED BY FRANÇOIS HALARD. BUILDING A DREAM, P. 228 So HAPPY Together 56 V O G U E N O V E M B E R 2 0 1 6 V O G U E . C O M SITTINGSEDITOR:MIRANDABROOKS.HAIR,BRADLEYDEEMING;MAKEUP,CAROLYNGALLYER. November
- 63. ANNA WINTOUR Editor in Chief Design Director RAÚL MARTINEZ Fashion Director TONNE GOODMAN Features Director EVE MACSWEENEY Market Director, Fashion and Accessories VIRGINIA SMITH Executive Fashion Editor PHYLLIS POSNICK Style Director CAMILLA NICKERSON International Editor at Large HAMISH BOWLES Fashion News Director MARK HOLGATE Creative Digital Director SALLY SINGER Creative Director at Large GRACE CODDINGTON FA S H I O N /A C C E S S O R I E S Fashion News Editor EMMA ELWICK-BATES Bookings Director HELENA SURIC Accessories Director SELBY DRUMMOND Editors GRACE GIVENS, ALEXANDRA MICHLER, EMMA MORRISON Menswear Editor MICHAEL PHILOUZE Bookings Associate ERINA DIGBY Associate Market Editors SARA KLAUSING, WILLOW LINDLEY, FRANCESCA RAGAZZI Market Manager TAYLOR ANGINO Associates GABRIELLA KAREFA-JOHNSON, YOHANA LEBASI Fashion Writer RACHEL WALDMAN Fashion Market Assistant MADELINE SWANSON Home Market Associate SAMANTHA REES B E A U T Y Beauty Director CELIA ELLENBERG Beauty Editor LAURA REGENSDORF F E AT U R E S Culture Editor VALERIE STEIKER Senior Editors TAYLOR ANTRIM, LAUREN MECHLING, JOYCE RUBIN (Copy), COREY SEYMOUR Entertainment Director JILLIAN DEMLING Arts Editor MARK GUIDUCCI Style Editor at Large ELISABETH VON THURN UND TAXIS Assistant Editor ELIZABETH INGLESE Assistant Entertainment Editor SAMANTHA LONDON Features Associates LILI GÖKSENIN, MADELEINE LUCKEL, LILAH RAMZI Features Assistant LAUREN SANCHEZ A R T Deputy Design Director ALBERTO ORTA Executive Visual Director ANDREW GOLD Art Director MARTIN HOOPS Associate Art Director NOBI KASHIWAGI Designer JENNIFER DONNELLY Visual Director, Research MAUREEN SONGCO Visual Editor, Research TIM HERZOG Visual Production Directors NIC BURDEKIN, JENNIFER GREIM Senior Visual Editor LIANA BLUM Assistant to the Design Director ROSEMARY HANSEN V O G U E . C O M Managing Editor ALEXANDRA MACON Head of Product ISHANI MUKHERJEE Director of Engineering KENTON JACOBSEN Fashion News Director CHIOMA NNADI Director, Vogue Runway NICOLE PHELPS Executive Fashion Editor JORDEN BICKHAM Beauty Director CATHERINE PIERCY Art Director FERNANDO DIAS DE SOUZA Director of Visual Production and Development ALLISON BROWN Fashion News Editor ALESSANDRA CODINHA Style Editor EDWARD BARSAMIAN Senior Fashion Writer MARJON CARLOS Market Editors KELLY CONNOR, CHELSEA ZALOPANY Associate Market Editor ANNY CHOI Accessories Editor BROOKE DANIELSON Archive Editor LAIRD BORRELLI-PERSSON Fashion News Writers KRISTIN ANDERSON, JANELLE OKWODU, LIANA SATENSTEIN Fashion News Associate EMILY FARRA Senior Beauty Writer MACKENZIE WAGONER Beauty Writer MONICA KIM Associate Beauty Editor JENNA RENNERT Deputy Culture Editor JESSIE HEYMAN Senior Culture Writer JULIA FELSENTHAL Culture Writer PATRICIA GARCIA Living Editor VIRGINIA VAN ZANTEN Living Writer BROOKE BOBB Visual Director SUZANNE SHAHEEN Senior Visual Editor EMILY ROSSER Visual Editors SAMANTHA ADLER, RUBEN RAMOS Entertainment Media Editor SOPHIA LI Visual Content Creator BARDIA ZEINALI Visual Associate ALEXANDRA GURVITCH Designer SARA JENDUSA Social Media Manager, Vogue Runway LUCIE ZHANG Associate Social Media Manager JULIA FRANK Fashion News and Emerging Platforms Editor STEFF YOTKA Associate Editor, Emerging Platforms NIA PORTER Visual Producer AMANDA BROOKS Production Manager CHRISTINA LIAO Assistant Managing Editor OLIVIA WEISS Producers IVY TAN, MARIA WARD Research Editor LISA MACABASCO Copy Chief JANE CHUN Associate Director,Audience Development ANNA-LISA YABSLEY Product Manager BEN SMIT Senior Developers JEROME COVINGTON, GREGORY KILIAN Developers JE SUIS ENCRATEIA, SIMONE HILL, BEN MILTON P R O D U C T I O N /C O P Y/ R E S E A R C H Deputy Managing Editor DAVID BYARS Digital Production Manager JASON ROE Production Designers COR HAZELAAR, SARA REDEN Production Associate ADRIANA PELLEGRINI Senior Copy Editor LESLIE LIPTON Copy Editor DIEGO HADIS Research Director ALEXANDRA SANIDAD Research Associate COURTNEY MARCELLIN Fashion Credits Editor IVETTE MANNERS S P E C I A L E V E N T S / E D I T O R I A L D E V E L O P M E N T/C O M M U N I C AT I O N S Director of Special Events EADDY KIERNAN Editorial Business Director MIRA ILIE Associate Director, Operations XAVIER GONZALEZ Contracts Manager ALEXA ELAM Editorial Business Coordinator JESSECA JONES Executive Director of Communications HILDY KURYK Director of Brand Marketing NEGAR MOHAMMADI Communications and Marketing Manager DANIKA OWSLEY Executive Assistant to the Editor in Chief GRACE HUNT Assistants to the Editor in Chief CORINNE PIERRE-LOUIS, REBECCA UNGER European Editor FIONA DARIN European Fashion Associates CAMILA HENNESSY, ANTHONY KLEIN West Coast Director LISA LOVE West Coast Associate CAMERON BIRD Managing Editor JON GLUCK Executive Director, Editorial and Special Projects CHRISTIANE MACK C O N T R I B U T I N G E D I T O R S ROSAMOND BERNIER, MIRANDA BROOKS, SARAH BROWN, SYLVANA WARD DURRETT, ADAM GREEN, ROB HASKELL, NATHAN HELLER, LAWREN HOWELL, CAROLINA IRVING, REBECCA JOHNSON, DODIE KAZANJIAN, SHIRLEY LORD, CHLOE MALLE, CATIE MARRON, SARA MOONVES, SARAH MOWER, MEGAN O’GRADY, JOHN POWERS, MARINA RUST, LAUREN SANTO DOMINGO, TABITHA SIMMONS, JEFFREY STEINGARTEN, ROBERT SULLIVAN, PLUM SYKES, ANDRÉ LEON TALLEY, JONATHAN VAN METER, SHELLEY WANGER, JANE WITHERS, VICKI WOODS, LYNN YAEGER V O G U E . C O M 64 V O G U E N O V E M B E R 2 0 1 6
- 65. SUSAN D. PLAGEMANN Chief Revenue Officer and Publisher Associate Publisher, Marketing KIMBERLY FASTING BERG General Manager DAVID STUCKEY A D V E R T I S I N G Executive Director, Digital Advertising KRISTEN ELLIOTT Advertising Director, Digital ELIZABETH MARVIN Executive Director, International Fashion and Business Development SUSAN CAPPA Executive Retail Director GERALDINE RIZZO Executive Beauty Director LAUREN HULKOWER-BELNICK Fashion Director JAMIE TILSON ROSS Luxury Director ROY KIM Senior Director, American Fashion and Beauty MARIE LA FRANCE American Fashion Manager LENA JOHNSON Account Managers BLAIR CHEMIDLIN, LYNDSEY NATALE Executive Assistants to the Publisher ANNIE MAYBELL, JEENA MARIE PENA Advertising Associate NINA CAPACCHIONE Retail Coordinator ELIZABETH ODACHOWSKI International Fashion Coordinator SAMANTHA KIRSHON Advertising Assistants LILY MUMMERT, GABRIELLE MIZRAHI, CAMERON CHALFIN, SARAH WRIGHT Advertising Tel: 212 286 2860 B U S I N E S S Executive Director of Finance and Business Development SYLVIA W. CHAN Senior Business Director TERESA GRANDA Business Managers CHRISTINE GUERCIO, MERIDITH HAINES Advertising Services Manager PHILIP ZISMAN C R E AT I V E S E R V I C E S Integrated Marketing Executive Director, Creative Services BONNIE ABRAMS Executive Director of Events, Partnerships, and Communications BRIGID WALSH Senior Director, Creative Development and Integrated Partnerships RACHAEL KLEIN Branded Content Director JANE HERMAN Integrated Marketing Director MARK HARTNETT Director, Special Events CARA CROWLEY Associate Directors, Integrated Marketing EUNICE KIM, MICHELLE FAWBUSH Digital Marketing Manager ELLYN PULEIO Senior Integrated Marketing Manager CASSANDRA SKOUFALOS Integrated Marketing Manager LIAM MCKESSAR Integrated Marketing Assistants SHARTINIQUE CHLOE LEE, TARA MCDERMOTT Vogue Studio Creative Director DELPHINE GESQUIERE Director of Vogue Studio Services SCOTT ASHWELL Associate Creative Director SARAH RUBY Art Directors NANCY ROSENBERG, TIMOTHY SCHULTHEIS Copy Director DEENIE HARTZOG-MISLOCK Designer KELSEY REIFLER M A R K E T I N G Executive Director of Marketing MELISSA HALVERSON Marketing Director YI-MEI TRUXES Senior Marketing Managers MEREDITH MCCUE, ALEXANDRIA GURULE Marketing Managers ANNA NATALI SWANSON, LINDSAY KASS D I G I TA L A D S T R AT E G Y A N D P L A N N I N G Director, Digital Operations JASON LOUIE Senior Digital Account Manager REBECCA ISQUITH Digital Account Manager COURTNEY CARROLL Associate Account Manager RYAN HOOVER Analysts, Sales Planning REBECCA YOUNG, ALANA SCHARLOP, HAYLEY SAMELA B R A N C H O F F I C E S San Francisco ASHLEY KNOWLTON, Northwest Director, 1700 Montgomery St., Suite 200, San Francisco CA 94111 Tel: 415 955 8210 Midwest WENDY LEVY, Director, 875 N. 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- 67. LetterfromtheEditor marry—the state forbade it simply because she was African-American and he was Caucasian. Of course, there was absolutely nothing simple about it: They were combating decades upon decades of entrenched and institutionalized racism that profoundly affected how they lived and loved. There wasn’t a single one of us who attended that screen- ing who wasn’t in awe of Ruth’s and Joel’s performances, or how this very moving film tackled its subject matter. I’ve heard some question whether the film is violent enough— whether it carries enough of the threat of danger that the couple faced. To me, those criticisms miss the point of this jewel of a film. It’s certainly true that Loving is a very different cinematic experience from the searingly brutal 12 Years a Slave or The Birth of a Nation, but then so is Mildred and Richard’s story, which subtly yet no less pow- erfully captures the insidious effects and painful impact of segregation. There are no histrionics, no melodrama; just the story of a couple in love in a world intent on denying them that right. And in a campaign season that has, quite rightly, put issues of racial injustice G iven that we have one of the most mo- mentous and contentious elections in our country’s history—if not the most— looming this November, it would be im- possible for us not to touch on politics in this issue. Vogue has, for the first time in its 124-year history, come out in support of one candidate, Secretary Clinton. One thing should be clear to us all these days: We live in an era where progressive values and attitudes have never been more important. That’s not just the preserve of those we vote into power but some- thing we can all support and act on in our daily lives. This struck me when, over the summer, I and several of Vogue’s editors saw a screening of the Jeff Nichols– directed Loving, starring Ruth Negga and Joel Edgerton, who play Mildred Jeter and Richard Loving, a couple in 1950s rural Virginia who had to fight to be allowed to LOVING FEELING RUTH NEGGA (IN GUCCI) AND JOEL EDGERTON, PHOTOGRAPHED BY MARIO TESTINO. ALL IN V O G U E . C O M 68 V O G U E N O V E M B E R 2 0 1 6 EDITO R ’S LE T T ER>7 3
- 72. preview of his new movie La La Land, a musical love story in contemporary Los Angeles starring an all-singing, all- dancing, all-gorgeous Emma and Ryan Gosling. As Jason Gay points out in his profile, it’s the kind of movie that Hol- lywood no longer makes. After you see La La Land, the only question you’ll ask is: Why not? It’s joyous and life-affirm- ing, precisely what we need when the world—and some of the campaigning in this election—has taken a terribly dark and cynical turn. Coincidentally, the film’s sunny brightness found an echo in the New York spring 2017 collections we’ve just finished seeing, where the best clothes were an exercise in positivity and optimism. It’s wonderful that we have that to look forward to next year—but we also have the choice to be positive and optimistic come November 8. LetterfromtheEditor and intolerance at its forefront, Loving is a quietly potent re- minder of what’s really crucial. Elsewhere in this issue we have another example of how an important matter can be tackled in a manner that allows entertain- menttoprovideenlightenment.AdamGreen meets the young actor Ben Platt, who stars in the Benj Pasek and Justin Paul musical Dear Evan Hansen, which is transferring to Broad- way from its run at Manhattan’s Second Stage Theatre. It’s a terrific piece of theater, intelligent and sympathetic, with a superb performance from Ben, yet it also touches a nerve: The show’s story revolves around the anxieties afflicting our teenage popula- tion—anxieties that are now, all too sadly, on the rise. Just how much so you can read in Rob Haskell’s companion piece to Adam’s overview of the play. The desperation of the young people Rob discusses is something I’m all too aware of; for some time now, I’ve been a supporter of NewYork–Presbyterian Hospital’s Youth Anxiety Center, and Rob’s excellent story is required reading. Last, our cover girl, the smart and ever- likable Emma Stone. Emma’s cover began a little like our Loving story, in a nondescript screening room not far from our office. Di- rector Damien Chazelle, who gave us the brilliant Whiplash, offered us a very early HOLLYWOOD MOMENT EMMA STONE, IN A GUCCI DRESS, PHOTOGRAPHED BY MERTALAS AND MARCUS PIGGOTT. THROW A FILTER ON IT BEN PLATT, PHOTOGRAPHED BYANTON CORBIJN. V O G U E . C O M V O G U E N O V E M B E R 2 0 1 6 73 C O N TIN U ED F RO M PAG E 6 8
- 73. My Millennial Friend When LIESL SCHILLINGER struck up a friendship with a woman half her age, she found herself inspired to let go of old habits and chase new dreams. I metheronaTuesday,atthelaundromatonmyblock in the East Village. We were pulling clean clothes from opposite dryers, and she was wearing a fantas- tic amaretto suede skirt. She was tall, slender, and fresh-faced—an utter gamine—and looked like she wouldn’t take a compliment amiss, so I praised the skirt,andshegrinned,thankedme,thenunleasheda torrentof cheery,animatedtalk,tellingmeshehadjustgradu- ated from Vassar and moved to the neighborhood. She was writing a play, assistant-directing a show at an experimental theater nearby, and was also working for a young woman playwright, whom she named. Iwasawriterandsometimetheatercritic,Iexplained,and had reviewed the first New York show of the playwright she was working for. Pleased by the coincidences, we exchanged names and kept talking. I had the rapturous, vertiginous sensation of having fallen back in time, into a conversation in the 1980s with my high school best friend. That was crazy because that friend and I were the same age; whereas Nadja hadjustturned22,shetoldme,andIwas48—morethanold enough to be her mother. Doing the math, I realized Nadja hadn’t even been born in the 1980s. Since the aughts, I have shared a summerhouse on Fire Is- landwithyoungwritersandeditors,mostlymillennials,whose enthusiasmforprettymucheverything—exceptirony—fasci- natesme.ButNadjawasadecadeyoungerthananyof them. ShewaspracticallyGenerationZ—likemynieceandnephews, who aren’t even twelve. TAKE TWO NADJA LEONHARD- HOOPER, NEAR RIGHT, WITH THE AUTHOR, FAR RIGHT. Being straight, I am not in the habit of picking up women. I had no idea then that, over the next months, this vivacious stranger would become a hugely important part of my daily life and conversation, a sharer of alfresco lunches in East Village cafés, a corunner of errands, a fitness coach (she text- herds me to do laps at the pool when I’m tempted to skive), and a fashion guru (dragging me to chic vintage boutiques despite my protests that they smell like dead people). If this is my midlife crisis, I’ll take it. Nadjawasbornin1993:fiveyearsafterI’dgraduatedfrom Yale and started working at The New Yorker; two years after I had moved into the apartment, two doors west of the laun- dromat,whereIstilllive;andayearafterI’dgotmarried—not that that had lasted. But she did not act as though I were a member of an antique generation; she treated me as if I were her age or, really, no age at all. When I was 22, I was shy with older people. I interacted with them from a deferential remove. I had no interest in taking up with an older man, as so many of my friends were doing, for fear of being slotted into an already fully formed life, where I would gather dust. Anyone older I regarded as a teacherorparent,someoneIwassupposedtoassistandobey, not to befriend, certainly not to date. As Nadja and I talked at the laundromat that day, making each other laugh, nimbly guessing which subject might most interest the other, it struck me that I hadn’t had a conversa- tion so free of baggage in decades. I am highly social, and I immensely value the friendships I’ve made in U P F R O N T>7 8 V O G U E . C O M 74 V O G U E N O V E M B E R 2 0 1 6 DRIUCRILLYANDTIAGOMARTEL.SITTINGSEDITOR:KATIEBURNETT.ONLEONHARD-HOOPER:CREATURESOFCOMFORTTURTLENECK ANDTOPSHOPSKIRT.ONSCHILLINGER:DIANEVONFURSTENBERGDRESSANDTACORIEARRINGS.HAIR,NEILGRUPP;MAKEUP, CHRISTINECHERBONNIER.PHOTOGRAPHEDATJ.J.CLEANERSLAUNDROMATCORP.,NYC.DETAILS,SEEINTHISISSUE. UpFrontUpFront
- 77. days. When her mother flew to New York, Nadja brought her by my place, and I tried to persuade her to join Tinder. When I had a business trip overseas, Nadja catsat for Skazka (friends in their 20s are precious for their catsitting potential alone); in November, when I went to Virginia for Thanksgiv- ing,Nadja’sdadcametotownfromMinnesota,andhecatsat. In December, when Nadja told me she’d been back in touch with her ex-boyfriend, I distracted her (wanting to keep her fromsinkingbackintotheblackholeof thatrelationship)by inviting her to come get a Christmas tree with me. We found a big one, then dragged it back to my apartment, picking up Chinese takeout on the way. Later that month, I was writing an article about Russian folktales and gave her some of my favorites to read. Over Christmas, both Nadja and I went out of state to our respec- tive parents’ houses, and when I returned to New York, I learned that during the holiday, she had written an absurdist playinspiredbymyRussianstories,whichinvolvedacatcircus in Yaroslavl and starred a magical cat called Skazka. This news had a powerful effect on me. It made me feel I was leaving behind a creative imprint on the world. I don’t have children, but I could see that, in a few months’ time, my casual conversation with this girl had been transformed into art. I didn’t see much of Nadja for the next weeks; she was a stagehand for an Off-Off-Broadway show, acting in a film, and staying up all hours rewriting her play. Once she texted me that she was exhausted. “You should get some Ritalin,” I texted back. “I don’t want Ritalin,” she responded. “I want to be a superhero.” Reading her texts and seeing her in person was like con- tinually being confronted with an image of my younger, surer, more idealistic self, the self who believed creative ex- pression was my duty and my destiny. After college, I’d gone into journalism, taking a magazine job and moonlighting as a critic and columnist, but it had taken me nearly 20 years to summon the courage to quit my day job and devote all my time to writing. I’d taken that jump in 2005; but upon meeting Nadja, I realized that a decade on, I was not making full use of my freedom. I still clung to my day-job mentality, treating freelance assignments as if they were side dishes for amaincoursethatwouldbearrivingsoon.OnlyIwasn’tpre- paring that main course; I wasn’t writing a novel, a memoir, or a play. Observing Nadja, I noticed, despite the gulf in our ages, we were in strangely similar circumstances. We both were writing, dating, and self-inventing with no limit to what we might create, apart from those we ourselves imposed, and with no clear objective beyond fulfillment. This was both liberating and petrifying. Nadja’s productivity showed me thatthefirstrequirementof beingasuperhero my28yearsinNewYork.Buttimehasencrustedouroriginal personalities with habits, histories, and complications. The selves we first brought to our friendships have been filigreed with marriages and children, divorces and breakups, career changes, deaths and illnesses, or, just as deforming, triumphs and successes. Each time I meet with one of my close old friends, each of us chooses a different time-scuffed self to bring to the fore—the bitter, ironic, or plucky self greets the single or divorced friend; the somber, workaholic self shares grievances with the friend who’s a slave to her desk; the con- soling self soothes the friend whose marriage is in trouble; the resourceful self bucks up the friend who’s afraid of a new career move; the humble self praises the lucky friend. A fter a while, it’s hard to sort through the heap of accumulated personae and retrieve the bur- ied, essential you. Talking with Nadja, I felt as thoughI’dcastoff allthoseexternalselvesand reclaimed my core self; she still was her core. When I headed home with my laundry, I didn’t necessarily thinkI’dseeheragain.Itwasajoyfulandrevivingencounter, andthatwasthat.IlinedupaTinderdate(witha50-year-old “artist”— I would soon learn “artist”was code for “under- employed,crankilyperfectionist,andincrediblytouchy”)and put away my clothes. But then my email pinged. Two days later, around 9:00 a.m., I was setting two glasses of iced coffee (with bendy straws) on a tray, and glancing anxiously at my iPhone, which I’d stuck into the middle of a bag of rice, hoping to dry it out (it had fallen into the tub), whenmyyoungfriendrangmybell.Openingthedoor,greet- ing her, I ushered her into the garden on a wave of conversa- tion and began telling her about my drowned phone and Tinder. She was on OkCupid!, she exulted as we sipped our coffeesinthesunshine.Shewasonthereboundfromamessy breakupwithacompellingbutdifficultVassarboyfriend,she said, and was going on 50 Internet dates in 50 days, trying to keep busy so she wouldn’t recidivize with her ex, hoping to meet someone better, and hoping to write a play about it all afterward. We discussed her latest dates (a 35-year-old and a 40-year-old), and my latest dates (a charming 25-year-old and a menacing 30-year-old), laughing at the age dispar- ity—mine so much younger, hers so much older. She kept insisting that I should give the 25-year-old a chance, and I kept trying to explain why I shouldn’t. The 25-year-old man shared many of Nadja’s qualities— originality,confidence,wit,charm,and,aboveall,thatelectric lackof disappointmentthatsuggeststhatnothinginthemhas yetdimmed,andperhapsnothingeverwill.Inthepresenceof such a force field, the backup generators of your own energy switchsuddenlyon,sendingsurgesof possibilitythroughyour psyche.Isuspectitisthissensation,evenmorethanyouthand beauty, that has always drawn men to younger women. Nadja began to email and text more and more often, and todropby;whenevershedid,Ifeltelated.I’dmakehersome- thingtoeatif sheletme,andshewouldplaywithmycat,Ska- zka (the name means “fairy tale”in Russian), and we would catch up on our dating adventures, talk about our work, and hang out—just as my friends and I had done in our school We would hang out and catch up on our dating adventures— just as my friends and I had done in our school days U P F RO N T> 8 2 TheNewGirl V O G U E . C O M 78 V O G U E N O V E M B E R 2 0 1 6 UpFront
- 81. was to believe you could fly. The second was to take to the air. I spent the rest of January writing fiction. The following month, I joined the Y, and soon after, Nadja joined too. She could swim two laps in the time I swam one, and she liked to play water tag with a muscular lifeguard we nicknamed Aquaman, tapping him on the heel as she raced him. In February, a local theater accepted Nadja’s play, and she quickly assembled a theater troupe (friends from Vassar), which included a cast of six, a direc- tor, a composer, a choreographer, and a dramaturge (me). Before long, they were all meeting in my apartment, with me coaching them in fake Russian accents and suggesting songs for the score. The show played the weekend after Easter to a sold-out audience at Dixon Place and immediately was signed up for a longer run in the fall. With the play over (for the moment) and summer ap- proaching, Nadja started to flounder a bit, and I worried for her. I’d forgotten how daunting it is to establish yourself as an adult in New York when you don’t come from here, even if you’re brave, even if you’re sociable, even if you went to college on the East Coast. I remembered how, when I was her age and new to the city, I had pathetically created a card labeledAmici(Italianfor“friends”)onmyofficeRolodex,on whichIlistedthenameandnumberof everyoneImetwhom I hoped might become a friend. I used the foreign word in the hope that if my colleagues accidentally saw my Rolodex openedtothiscard,theywouldn’tpityme.ButatleastIhada built-innetworkof colleagues;asanartist,Nadjahadcontext and colleagues only when she had a gig. O ne late-spring day, when Nadja showed up at my window, wanting me to join her for a walk, it occurred to me that she now had time on her hands,andIshouldhaveinvitedhertoapartyI was going to that night. Before then, something protective in me—of her and of myself— had kept me from integrating Nadja too deeply into my social life; I hadn’t invited her to gatherings with my other friends, nor had I mixed much with her Vassar crowd, apart from the cat-play get-togethers. I hadn’t wanted to mess with her autonomy by mergingherintomypreexistingset;nordidIwanttobecome overdependent on a friend who might pick up and move to Berlin, or Minnesota, at any moment. Whyshouldn’tIincludeherinmywidersocialplans?Ireal- izedIwasstillbeingreflexivelyageist.Nadjawasyoung,itwas true, but she was already distinct, indelible. I wondered if the samehadbeentrueof me,at22,whenIwassowaryof influ- ence, so fearful of erasure by an older man. But I had stood vigil over my outline then, and afterward; which was why, at Nadja’s productivity showed me that the first requirement of being a superhero was to believe you could fly. The second was to take to the air this moment, on a sun-soaked 70-degree afternoon, so late in my life, I was free to clatter down the stairs to the sidewalk and join Nadja for a ramble to the river, while my friends my ownage,morepermeableonce,andmoresecurelyensconced inadulthoodnow,weretoilingatdesks,orrushingtopickup children from school. IrecentlygaveuponTinder(toomany“artists”),andsince thenI’vegoneonseveraldateswithRealWorld(notInternet) men in a judgment-free way, leaving birth date out of the equation. One man was 60, another was 50, another was 40, anotherwas30.I’mnolongertellingmyself thatdatingsome- oneolderwillcausemetolosemyself-definition.FromNadja, I’ve seen that age differences can strengthen, not weaken a friendship. As for what they can do in a romantic relation- ship, I’m willing to find out. I went on second dates with the 30-year-oldandthe40-year-old.Andif the60-year-oldcalls? I say: Better late than never. Nadjaisnowinarelationshipwiththe40-year-oldshemet whenshewasinthemiddleof her50-dates-in-50-daysproject. Shebroughthimtoagiantpartyinmygarden—apartyIhad thrownlargelywithherinmind.WhenIwasagirl,mymother entertainedconstantly,enlistingmyhelp;shehadimpartedto me her zeal for cooking, decorating, and whipping up enthu- siasminothers.Fordecades,onmyowninManhattan,Ihad entertained frequently at home, but in the last few years, I’d stopped. I felt as if I’d passed the age of festivity. But Nadja mademerealizeIhadneedlesslydeprivedmyself of ajoy:My hosting skills had not vanished, and I could pass them along to her. The party came together beautifully, riotously. Two filmmaker neighbors carried my Parsons bench, rattan fold- ingchairs, andaspareIstanbulrugdownstairstothegarden, creatinganoutdoorliving-roomniche,besidethebartender’s table, under the apricot tree. Nadja brought over globe lan- terns left from her cat-play set, and she and I both wore silver faux-fur wraps, caught up in a Titanic vibe. Onehundredfiftypeoplecame,andbyoneinthemorning, acoupledozenof ushadmigratedupstairstomyapartment, where we danced to Bowie, Prince, and Duke Ellington. By thespeakersinthestudy,IglimpsedNadjaandherboyfriend, apart from the others in the dim light, a glowing island of coupledom. They kissed. Seeing them I felt shy, lowered my eyes, and moved to more crowded rooms. As I danced with a trio of friends in the living room, I un- derstood:IhadmetNadjainthesplendid,gleaming,protean Act One of her life, when all things are possible and none are resolved.Butshewouldgraduatetoamolten,golden,lasting Act Two: She would move on to have a partner, and a child, andabrownstoneinBrooklyn;or—if shemadeitbigonstage and screen, as I felt sure she would—a bungalow in Malibu. And I wanted all this for her, so badly; I wanted her to have more than I had wanted for myself. Peoplesaythathavingachildislikehavingyourheartwalk- ing around outside of your body. For me, being friends with Nadja is like seeing my hopes walking around outside of my body, visible, palpable. It makes me want to defend them, to nurture them, to honor them. Her vitality, her futurity, have filled me with new optimism: for myself, for her, for every- one—old and young alike. TheNewGirl V O G U E . C O M 82 V O G U E N O V E M B E R 2 0 1 6 UpFront
- 83. R A D I C A L C H I CPhyllis Posnick, Vogue’s Executive Fashion Editor for nearly three decades, has long been a photographer’s secret weapon, bringing acuity, style, and wit to her work as sittings editor forsuchphotographiclegendsasthelate,greatIrvingPennandHelmutNewton.Herbeauty images and portraits have one thing in common: Positioned between multipage fashion editorials, they must be arresting at all costs. If the reader doesn’t pause at the page, it’s over. Hence Stoppers (the word was coined by Alexander Liberman), out this month from Abrams, inwhichshesharessomeofherfavoritemomentswithPenn,Newton,AnnieLeibovitz,Steven Klein, and Anton Corbijn. You’ll never think of bee-stung lips in quite the same way again. PATRICK DEMARCHELIER’S GUIDO PALAU WIGS FOR THE COSTUME INSTITUTE’S“PUNK: CHAOS TO COUTURE,”MAY 2013. Excerpt V O G U E . C O M 84 V O G U E N O V E M B E R 2 0 1 6
- 85. TOP: MARIO TESTINO, MERMAID, TRANCOSO, BRAZIL,JULY 2012. LEFT: IRVING PENN, BEE (A), NEWYORK, 1995. Excerpt V O G U E . C O M 86 V O G U E N O V E M B E R 2 0 1 6 BOTTOM:©THEIRVINGPENNFOUNDATION
- 87. C ate Blanchett’s film Elizabeth: The Golden Age was due to open, and we were hoping that Penn would do a portrait of her as Queen Elizabeth I. He rarely agreed to photograph actors because he believed thattheywouldpresentthefacetheywantedtheworldtosee, rather than let him penetrate their inner self. Asking him to photograph her in one of the extravagant costumes from the filmwouldeliminatetheissueof anactoractingforaportrait. We met at the studio to talk about the sitting. Penn sat across thetablefromme,carefullystudiedfilmstillsof Cate,satback inhischair,sighed,andsaidthathewantedtophotographher but the costumes just weren’t good enough. I realized that an entirelynewcostumehadtobecreated.Butwhocoulddesign it? One person instantly came to mind: the brilliant Nicolas Ghesquière, then designer of Balenciaga. He sent a drawing and Penn loved what he saw. All good so far. Then Nicolas called to say that he was having difficulty finding fabric that he liked for the ruff, but paper doilies were exactly the look he was after. Did I think Penn would mind the change? Penn lovedit!NicolasrecentlytoldmethatwhenCate’s“costume” arrived in New York, Penn called and said that it was “even better than anything he was dreaming of.” Excerpt PENN’S PORTRAIT OF CATE BLANCHETTAS QUEEN ELIZABETH I, NEWYORK, 2007. E XCERP T> 9 0 V O G U E . C O M 88 V O G U E N O V E M B E R 2 0 1 6
- 89. Excerpt LEFT: STEVEN KLEIN, SUBURBIA #11, NEWJERSEY, DECEMBER 2007. BELOW: HELMUT NEWTON, PRAISE THE LARD, OCTOBER 2003. “I’vealwayswantedtophotographachickenwear- ing high heels.”This was Helmut’s response when I told him we needed a photo for an article about fried chicken. I was already planning a shoot with him in Monaco three days later, so there wasn’t muchtimetofindstilettosforachicken.Noluckin NewYork.Withintwodays,ourPariseditor,Fiona DaRin, found four pairs at the Doll Museum in Paris and had them overnighted to Monte Carlo. Helmutlikedtwoof them,buthewantedtobesure I had the right shoes for the right chicken. Was he serious? The minute I arrived, Helmut’s assistant walked me up the hill to the local butcher to do a fitting. There was a long line. When I finally got to the counter, the dour round man with a mustache and rosy cheeks wearing a bloodstained apron asked in French, “Can I help you?”Oui. S’il vous plaît.Itookthelittleshoesoutof mybag.“Helmut Newtonisdoingaphotograph,andIhopeyouwill help me try these shoes on your chickens. I need to see which are the best fit,”I said in English, as Helmut’s assistant translated. Silence. Without a smile and without saying a word, the butcher care- fully tried the shoes on every chicken in the case. I bought the two birds with perfect legs. From the book Stoppers: Photographs from My Life at Vogue, by Phyllis Posnick, © 2016. Published by Abrams. V O G U E . C O M 90 V O G U E N O V E M B E R 2 0 1 6 BOTTOM:©THEHELMUTNEWTONESTATE/MACONOCHIEPHOTOGRAPHY
- 93. S even hours’ bumpy drive from Erbil, the capi- tal of Iraqi Kurdistan, stands an abandoned schoolhouse that recently served as an Islamic State headquarters. By the time we reach it, traveling past open fields of burning oil rigs, the harsh Iraqi sun has dropped, the sky is softening, and it’s getting late. Inside the schoolhouse, a group of mostly teenage Yazidi women are beginning their bedtime ritual. They have survived genocide and witnessed their fathers, brothers, cousins, and loved ones being slaughtered by ISIS militants. But for now, they’re in loose pajamas and bare feet, untying chignons and brushing waist-length hair. In the morning they’ll be up at six for military drills. It’s a little like being at a boarding school, except that these women are trained fighters. “Our history is dark,” says Khatoon Khider, the stocky, 36-year-old commander of the Force of the Sun Ladies Bri- gade. We’re sitting in her office, trying to cool down from the oppressive heat. Khider is used to roughing it. For the past two years, since August 2014, when some 5,000 Yazidis were killed and a further 6,000 captured and enslaved by ISIS, she has devoted her life to protecting her people. “What hap- pened to us,”she says somberly, “was unthinkable.” Images reached the West of survivors stranded on Mount Sinjar.Manywhoescapedtheirruinedvillages—laterheavily mined by ISIS so they could not return—now live in settle- ments for the displaced. But the full picture of what they experienced is only now clearly emerging. Afterwitnessingasweepinggenocide andsexualenslavementbyISISin2014, agroupofYazidiwomenhasformeda battalion—theSunLadies—tofightback. JANINEDIGIOVANNIreports. MOVING FORWARD CLOCKWISE FROM TOP LEFT: THERAPEUTIC DRAWINGS BY RAPE VICTIMS; MORNING PREPARATIONS; A BATTALION FILLS UP SANDBAGS; BEFORE DAWN, SOLDIERS SLEEP ON THE ROOF OF THEIR BASE; YAZIDI SUN LADIES PRACTICE DRILLS; 20-YEAR-OLD SOLDIER AZIZA. LIV ES >9 6 BraveHearts V O G U E . C O M NICOLETUNG 94 V O G U E N O V E M B E R 2 0 1 6 Lives
- 95. Last December, Nadia Murad, 23, who lost eighteen members of her extended family and was held captive and brutally gang-raped by ISIS fighters, bravely described her ordeal to the UN Security Council at its first session on human trafficking. “The Islamic State did not just come to kill us, women and girls, but to take us as war booty and merchandise to be sold in markets,”she said. Murad was back at the UN in September for its General Assembly, where she was named a Goodwill Ambassador. She was accompanied by her lawyer, Amal Clooney, who is helping to bring a spotlight to the Yazidis’plight. “Calling it genocideisnotenought,”saysClooney.“Evidenceneedstobe gathered and the ISIS militants who committed these atroci- ties must be brought to court. It’s ambitious,”she says, “but whenyoulookinthesegirls’eyesyourealizeitmustbedone.” T he Yazidis—whom I first met when I lived with them back in the days of Saddam Hussein—are areligiouslyandethnicallyindependentKurdish- speakingsect.UnliketheKurds,whoarefamous for their Peshmerga fighters (translation: “those who face death”), the Yazidis are not epic warriors by nature. Theirs is a fiercely patriarchal society, where women’s lives traditionally revolve around farming, cooking, and raising children. It has remained a closed community for centuries. TheSunLadies,bornoutof the2014genocide,havenotyet enteredcombatorfoughtonfrontlines.Buttheyareprepared to do so, and they talk in the gritty manner of soldiers willing to give up their lives if they have to. With just a 45-day inten- sivemilitarytrainingbythePeshmerga,manyof thesewomen aredrivenbyadesiretotakebacktheterritoryandrightsthat were seized from them. It’s also a way of honoring the dead. “Can I wash out your T-shirt?” asks the deputy com- mander,pickingupabarof soaptoscrubitbyhand.Twenty- six years old and the only one in the group on patrol who is married, she brushes off my protests and tells me about her day. She’s been manning checkpoints since early morning— ISIS forces are still about 30 km away—in the 108-degree heat. Her duties are not yet over—she has paperwork with the commander to finish. I ask her if she misses her husband, whom she sees every six weeks. She sighs and looks down at her simple wedding ring. Her hands are roughened from handling guns. “This is more im- portant,somehow.”She’snotyetthinkingof havingchildren, which is unusual for a Yazidi woman. Her attitude demon- strates how this genocide is changing their ancient society. On the roof of the school, where we drag cotton mat- tresses to sleep, watched over by giggling armed guards who take turns at the top of the stairs, the women lay their rifles attheheadof theirmakeshiftbedsandbegincomparingcell- phonephotos.Anolderwoman—thecook,whoactslikethe headmistress—orders everyone to turn the phones off. “The light draws in fire from ISIS,”she says. “Do you want to get shot in your sleep?” I ask a young woman with a long braid running down her back who has bedded down near me if she is ever scared. “We’ve trained, we can use automatic weapons, we can launchmortars,”shesays.“If ISISkilledyourmenandraped your sisters and your mothers and your friends, you would do the same.”Is she afraid to begin fighting on a front line if it comes to that? “Not at all.” Evenwithoutthephones,there’salotof talkingandlaugh- ing before bed, and the subjects are not so different from those discussed by young women anywhere: how they got tattoos (using traditional Yazidi recipes of breast milk mixed with ash and set with a needle); how boring it is to get up early; how they miss their families. It’s too hot for me to sleep, and as I sense the fighters are droppingoff,Igoandfindthecommander.She’sinheroffice, sitting behind her desk. She orders some of the staff—who stamp their feet, military style, when they see her—to bring fresh peaches and a box of dusty chocolates. Khider looks fierce in her fatigues and military boots, but when she shows meaphotographof herself withherhairdownattheCannes FilmFestivallastMay,wearingalongdressembellishedwith the Kurdish flag, she appears younger and less robust. “That was the first time I left the mountain, really,” she says, flashing a rare smile. She traveled with the Kurdish Peshmerga Ministry to attend the red-carpet screening of Bernard-HenriLévy’sfilmPeshmerga,aboutthefightersbat- tlingISIS,andtheironyof italldoesnotescapeher.Shepulls up a photo of herself in a gown, sitting in front of the actress Arielle Dombasle, Lévy’s wife. The juxtaposition of her re- moteworldwiththeirglamorousonemusthavebeensurreal. Khider, formerly a renowned wedding and ceremonial singer, started the battalion after watching her village de- stroyed, and existing for eleven days on Mount Sinjar with terrified people trying to flee without food and water. “Our religion forbids killing,” she says, so the decision to become a soldier was not taken lightly. Khider was granted special permission from the authorities to form the battalion. “We want justice. We want the men who did this to go to court.” She has not let herself sing for two years. Everyone I met in Kurdistan could recount her exact mem- ory from August 3, 2014, when ISIS fighters invaded the southern part of Mount Sinjar: how villages were attacked; men killed; boys over the age of puberty driven away, forced to convert to Islam, or made to lie down and be fired on; women becoming sabaya, or slaves. “Some of these women were sold to seventeen differ- ent ISIS ‘husbands,’ ” says Dr. Nagham Nawzat Hasan, a Yazidi gynecologist who works with the victims and was recently presented with an International Women LIV ES >9 9 “Our religion forbids killing,” says Khider, so the decision to become a soldier was not taken lightly. “We want justice. We want the men who did this to go to court” BattlingISIS V O G U E . C O M 96 V O G U E N O V E M B E R 2 0 1 6 LivesLives
- 96. of CourageAwardbySecretaryof StateJohnKerry for her work. Amina (names of the abductees in this story have been changed for security reasons), a 22-year-oldunderhercare,describesherexperience. “I did not know what they wanted, why they were doing this to me,” she says. “All I understood was they wanted to change my religion.”She and other women were taken from village to village and sepa- rated into groups: virgins and married women. “At first they just took the virgins,”Amina says. “Then they took married women.” One of her “husbands” was an American ISIS fighter. “They called him Al-Amriki,” she says. “When he came to rape me, he would pray first. Then he would beat me with a cable.”He told her he was a Christian and a former teacher who had converted to Islam and joined ISIS. Sometimes after he raped her, he would go and Skype his wife in the U.S. “She knew all about me,”Amina says. “Once he showed me a picture of his family in America. His wife had short hair, like a boy, and they had two little children, a boy and a girl. I wondered how an American could do this to me.” What were her days like? “He would rape me, pray, and sleep,”she says. During the day, he locked her in the house. Eventually she was sold to another “husband” before be- ing rescued. Were her “husbands”ever kind to her? “There was never tenderness,” she says. “While the American raped me, he seemed unconscious, like he was taking drugs or drinking alcohol.” Another escapee, 26-year-old Noor, is now in Sharia Camp outside the city of Dohuk, where more than 18,000 people live in 4,000 tents. She is here with what remains of her family. “Two were taken,”she says, her eyes filling. “My son and my twelve-year-old girl.”She does not know if they are alive or dead. Noorsitsonthefloorof thetentashersmallestchildren— aged eighteen months to six—crawl over her. “When they came to rape me,” she says, “I put the children in another room and locked the door.” Unlike other Yazidi women I spoke to, she did not have to spend the night with her captor. “I was his wife, officially, but after we had sex, I went and slept with the children, but I never really slept. I was afraid something would happen in the night. We knew ISIS was killing children.” A number of women have been freed by Yazidi men pursuing risky rescue operations. Yet some2,000 arestillbeingheld—andsold.One afternoon in Dohuk, I watch a rescuer, posing as an ISIS buyer, bargain electronically for a thirteen-year-old Yazidi girl wearing full makeup, a push-up bra, a seductive smile, and high heels—for $7,000. “She’s availabletoday,”hersellersays.“CometoRaqqaandgether.” Towitnessthesecasualtransactionsbeingdiscussedinreal time is devastating. As I watch, other Yazidis come up for sale—a weeping nine-year-old girl, also dressed up to look sexy; a terrified-looking mother and her three children; a young boy; and another prepubescent girl, arching her back infauxsexuality,whoisdescribedasbeing“easyduringsex.” In a village outside Dohuk, one of the rescuers introduces me to 29-year-old Nival, recently released, who was enslaved foreightmonthswithherthreesmallchildren.Theyhadbeen transported to Mosul, Palmyra, finally Raqqa. “Every place we went got bombed, bombed all the time. It was terrible for thechildren—theyweresofrightened.ThenIwouldbetaken by my ISIS ‘husbands’—I never knew if they would kill my children after they raped me.” She was made a cook and prepared meals for about 100 ISIS fighters a day in Raqqa. “I was a married woman, so I was not as valuable. What they wanted was Yazidi virgins. I saw them rape a thirteen-year-old before my eyes.” The rescuer, a 41-year-old man, describes the reward for hisdangerousworkas“thejoyonthosegirls’faceswhenthey finally get home; it is worth every bit of the risk.” Before the war, he was a beekeeper. “I learned justice from the bees,”he said. “After the bees mate, the female does away with the male. Maybe there is something in this.” ISIS’s brutal and systematic targeting of the Yazidis is thought to have been in part geographically strategic, but also a response to their pre-Islamic religious beliefs. To ISIS, they are kuffar, nonbelievers, a lower form of life even than Christians or Jews (who according to the Quran are consid- ered “People of the Book”and given limited protection). “It has been a complete attempt to eradicate the Yazidi com- munity,”saysEivor Lægreid, aNorwegiantherapistworking for Yazda, an NGO in Dohuk and Texas that also represents Nadia Murad. “It is an effort to delete them.” This effort has left the Yazidis terrorized and decimated. “You have to understand—some of the women I met had never seen a television,”says Suzn Fahmi, a facilitator at Jin- da, another center helping Yazidi women in Dohuk. “Some had never been inside a car. Suddenly they are taken out of this life, captured by ISIS, and sold SPEAKING UP NADIA MURAD (RIGHT), NEWLY NAMED UN GOODWILL AMBASSADOR FOR THE DIGNITY OF SURVIVORS OF HUMAN TRAFFICKING, AT THE UN IN SEPTEMBER WITH LAWYER AMAL CLOONEY. 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- 97. S he kneels at her dressing table with her back to us, her torso wrapped in a towel, her head turned slightly in profile, tiger cub’s nose and Cupid’s-bow pout peeking out from beneath a luxuriant blonde mane. With one mani- cured hand, she holds up a little mirror into which she gazes, transfixed by her own image, like Venus in an old-master painting—yet bathed in the light of modern celebrity. Vogue ran William Klein’s photograph of 24-year-old Brigitte Bardot on a full page in March 1958, alongside a brief article mentioning the French star’s “maximum of animal magnetism” and her four films playing simultane- ously in “intellectual movie-art theaters” in New York. It is not a fashion photograph—its subject is shown après bain or just before the towel drops, when we might, at least in imagination, possess her. The Summer of Love is still almost a decade away. Yet despite her babyish features and seemingly tender flesh, Bardot represents, all on her own, a one-woman sexual revolution. “I never was fashionable, so I never went out of fashion,” she says, giving a rare interview from La Madrague, the villa inSt.-Tropez,itshighwallscoveredinbougainvillea,thathas been her refuge for more than half a century. Though she is 82, in somewhat fragile health, and notoriously reclusive, her deep, rich voice—colored, perhaps, by years of smok- ing—still conveys an astonishing vitality. Bardot’s charm, like that of a child, is her intense allegiance to the present, her absolute lack of vanity, and her directness. “I mean, I never followed fashion; I did it my own way. I was ahead of my time,”she says simply. “And when you are right too early, you are always wrong.” Nothing in her very proper bourgeois childhood could have predicted the iconoclast to come. Born in 1934, Bardot grew up the elder of two daughters in a conservative Pari- sian family. “My parents were elegant and serious people who preferred the company of sophisticated society,” she recalls. “They were not the least bit bohemian.” She studied ballet from age six until fourteen, winning admissiontotheprestigiousParisConservatoire.(Thefuture Hollywood star Leslie Caron was a fellow student.) “I had no interest in clothes,” she says, though she began model- ing as an adolescent, initially for a milliner friend of her mother’s, and appeared on the cover of French Elle in 1949 wearing a pink pleated taffeta gown by couturier Jacques Heim. She was spotted and plucked for the movies, eventu- ally making . . . And God Created Woman with the man she married at eighteen, director Roger Vadim. A memoir in photographs, Brigitte Bardot: My Life in Fashion, published this month by Flammarion, reprises the images and looks that made her—despite her professed in- difference—an avatar of style. The top couturiers of the day, including Pierre Balmain, Christian Dior, and Dior’s succes- sor, the young Yves Saint Laurent, dressed CHECK MATE THE ACTRESS—IN A GINGHAM DRESS—AT HER WEDDING TO THE ACTOR JACQUES CHARRIER, 1959. N OSTA LG IA >102 V O G U E . C O M 100 V O G U E N O V E M B E R 2 0 1 6 JACKGAROFALO/PARISMATCH/GETTYIMAGES Inarareinterview, 82-year-oldlegend BrigitteBardot recallsherpast asaninsouciant—and enduring—styleicon. ByLESLIECAMHI. Being Bardot Nostalgia
- 99. the starlet for grand occasions. But in Vadim’s movie she wore her own clothes—simple shirtdresses, form- fitting shifts, a dancer’s leotard—or nothing at all for her role as Juliette, a disarmingly free-spirited and lust- ful teenage orphan, who sunbathes naked and sows erotic mayhem around St.-Tropez. (The little fish- ing village, frequented by artists and a handful of cognoscenti, was not yet a favorite playground of the jet set.) Censors on both sides of the Atlantic were appalled. Her loose, golden hair was like a banner waving in defense of the new hedonism and against a prior gener- ationof “ladylike”Frenchstars,with their corsets and stays, their careful coiffures, furs, and pearls. “I always tried to dress in a way that made me feel good,” Bardot says, “at ease in my own skin, comfort- able in my clothing—and naked, too.” (Bardot could get “copyrightcredit,”herFrenchbiographerMarie-Dominique Lelièvre writes, “every time a girl in the street today fixes her hair by running her fingers through it.”) H ergreatlibertyon-screenwas“natural,”Bardot says now. “I was just being me.”So natural, in fact, that having kissed her costar in the film, actorJean-LouisTrintignant,shepromptlyfell in love with him, leaving husband Vadim for thefirstinaseriesof high-profile,oftenshort-livedromances. “In the game of love, she is as much a hunter as she is a prey,”SimonedeBeauvoirproclaimedinthepagesof Esquire, championingherasanunlikelyfeministicon.(Themeninher life—legendarily louche French pop star Serge Gainsbourg, for example, a disheveled dandy who, distraught in the wake of their brief affair, penned the ballad “Initials B.B.”in hom- agetoher—hadnoinfluenceonthewayshedressed,shesays. “Serge,” she purrs, “was really a very reserved and modest boy, and we loved each other madly.”) For the avant-garde, heruntamableallurewasawelcomeformof anarchy.French NewWavedirectorJean-LucGodardmadeitthecenterpiece of hismasterpieceContempt(1963),andculturalheavyweights MargueriteDurasandFrançoiseSagandevoted,respectively, an essay and a book to her. “She wasn’t ashamed of herself, she didn’t apologize for herabsolutetriumph,whereassomanyothersapologizedfor their half-victories,”Sagan wrote after Bardot’s 1973 retire- ment from the screen, though still beautiful and eminently desirable, to devote her life to her animal rights charity (a cause she still fervently champions). “And this is why she scandalized everyone.” From her brief but dazzling fifteen years in the public eye, Bardot has proved a remarkably enduring icon—and this despite her shocking, late-in-life conversion to far-right French politics. The fashions she launched, later channeled through Claudia Schiffer, Alexander Wang muse Anna Ewers, Gigi Had- id, and the shapely model du jour Irina Shayk, were inseparable from a persona that appeared to obey no law but her own pleasure, and not to work very hard at fame, beauty, or anything else. She wanted something light and supple, like her old ballet slippers, to walk around in, for example. “I told the Maison Repetto,”she says—sto- ried supplier to the world’s prima ballerinas—“and they found the idea amusing.” The “ballerina flat,” first created for her in 1956, has been a staple of chic wardrobes ever since. She chose a pink gingham dress for her second marriage, in 1959, to actor Jacques Charrier. “Gingham, back then, was used for kitchen curtains— it wasn’t at all fashionable,”she remembers. “But I thought it was pretty!” The picture of the wedding ceremony, with Bardot in the dress by couturier Jacques Esterel, unleashed a gingham tidal wave. The famously appealing off-the-shoulder “Bardot top,”so ubiquitous on runways and in street style last spring? “They photographed me in my nightgown!”Bardot says, laughing, and the trend took flight. Andher signaturelowbeehive, nicknamedthechoucroute (translation: “sauerkraut”) for its many curling tendrils, was in reality “a failed chignon,” she claims. “Though it was a failure, I managed to make it look pretty.” The late singer Amy Winehouse embraced the look, revived most recently in Jeremy Scott’s spring-summer 2016 collection. A picture of Bardot in 1967 shows her leaving a reception at the Élysée Palace hosted by President Charles de Gaulle. Her outfit—a Sgt. Pepper–style jacket decorated with trompe l’oeil gold brocade, worn with pants, kohl-rimmed eyes, and her long hair loose around her shoulders—made headlines. “Women at the time weren’t allowed to wear pants to the Élysée, much less with a military-style jacket,” she admits. (Protocol also called for a neat chignon.) But “my encounter with le Général, whom I admire profoundly, left a lovely memory.” Another captures her exiting Maxim’s, the soigné Parisian nightspot, the same year, with her third husband, German photographer and playboy millionaire Gunter Sachs, who wooed her by dropping hundreds of roses via helicopter into her St.-Tropez garden. (Though they were married for just three years, beginning in 1966, several of the obituar- ies following his death in 2011 identified him as “Bardot’s ex-husband.”) He’s wearing black tie; she’s in a striped silk caftan and barefoot. She’s still barefoot, Bardot tells me on the phone from La Madrague, where her everyday uniform now consists of blackBermudashortsandablackT-shirt.“Ilovegoingwith- out shoes,”she says. “And anyway, I have very pretty feet.” TheNatural MIRROR IMAGE BARDOT PLAYS MUSE, PHOTOGRAPHED BY WILLIAM KLEIN FOR VOGUE, 1958. V O G U E . C O M 102 V O G U E N O V E M B E R 2 0 1 6 Nostalgia
- 103. F alling as it did mere weeks before the most urgent election in a generation, the most recent New York Fashion Week was underscored by the all-important (and all-American) date of November 8. Rather than wallowing in appre- hension—or worse, ignoring the situation— designers and models sprang to the occasion, registering to vote and motivating others to do the same. Universal suf- frage is a power that unites all of us—whichever candidate you punch the ballot for. We at Vogue know where we stand (page 62). Do you? Thefashionworldisunanimousabout onethingthisseason:gettingoutthevote. MODEL CITIZENS CAROLYN MURPHY (FAR LEFT) WITH TAYLOR HILL, WHO WILL BE VOTING FOR THE FIRSTTIME. AT ATTENTION JOAN SMALLS (NEAR RIGHT) AND KENDALL JENNER ARE READYTO ROLL COME NOVEMBER 8. EDITORS: MARK HOLGATE & MARK GUIDUCCI TalkingFashion TA L K I N G FAS H I O N >10 8 AllEyesOn MakingHISTORY V O G U E . C O M 106 V O G U E N O V E M B E R 2 0 1 6 SEANTHOMAS.FASHIONEDITOR:JORDENBICKHAM.HAIR,ROLANDOBEAUCHAMP;MAKEUP,YUMIMORI.
- 105. in fact now such close friends that Maxwell relishes talking to her while she soaks in the bathtub. Gaga is hardly alone in her affection for Maxwell’s classic vision. The designer’s most recent show, held at the Russian Tea Room (the kind of historic venue he adores), was a major hit of New York Fashion Week—maybe because the clothes, unapologetically lovely with no irony or subtext, spoke loud and clear to young women eager to don something frankly glamorous. Suddenly there seems to be a collective desire to dump the hipster high jinks and slip into the types of silhouettes that Wham GLAM T here is one lonely gay kid in every small town in America glued to the Tony Awards while everyone else is tossing around a foot- ball or smoking pot behind McDonald’s. In Longview, Texas, in the 1990s, that boy was Brandon Maxwell, who grew up to be a de- signer of sinuous confections worthy of the red carpets he once worshipped from afar. Maxwell, 32, first came to national attention when he put Lady Gaga in the satin gowns to which she graduated after her notorious meat dress. (For the record, Maxwell says that he loves both aspects of her persona—and anyway, he was working for Gaga stylist Nicola Formichetti at the time and actually assisted on that sartorial slabfest.) The two are BrandonMaxwell,onceanEastTexasdreamer,isnow ared-carpet-readymasterofunabashedopulence. SITTING PRETTY NIEVES ZUBERBÜHLER, IN BRANDON MAXWELL,WITH THE DESIGNER ATTHE RUSSIAN TEA ROOM, NYC. TA L K I N G FAS H I O N >1 10 TalkingFashion V O G U E . C O M 108 V O G U E N O V E M B E R 2 0 1 6 MATTHEWKRISTALL.SITTINGSEDITOR:KATIEBURNETT.HAIR,KAYLAMICHELE;MAKEUP,GEORGISANDEV.PRODUCEDBYLIEBLINGPRODUCTIONS.DETAILS,SEEINTHISISSUE.
- 107. have flattered women for decades: perfectly cut slim skirts and tailored trousers, cropped camisoles, and dramatic organza ball dresses. Maxwell arrived in New York in 2009, photography de- gree in hand, to find work as a stylist—after all, hadn’t he been styling since those Longview days, when he bought clothes at the Goodwill, refashioned them, took hair and makeup into his own young hands, and then shot the results onhissisters?Didn’thespendcountlessafter-schoolhoursat Riff’s, the local boutique where his grandma worked, watch- ing the women of his hometown transform themselves into East Texas glamour-pusses? He sold his car, lived in what he describes as a spare closet in Fort Hamilton, Brooklyn, sent out thousands of résumés, and was pretty much down to his last roll of quarters when stylist Deborah Afshani took a chance on him. She gave him words to live by: “Come early and stay late!” she said. “Be nice to people.” At his second job—he was third assistant stylist—he worked with Pat McGrath, Naomi Campbell, and Steven Meisel for Russian Vogue. “This is what I want life to be like,”he remembers thinking. Things moved fast: If once he could only dream of dressing women like his heroines Lady Di and Jackie O, now his ivory crepe frock was gracing Michelle Obama at a state dinner. When he saw the First Lady in that dress, Maxwell was a total puddle. “She really is the embodiment of the women that I love and adore and create for,” he says. His client Nieves Zuberbühler (Maxwell is creating the dress—it’s top secret for obvious reasons—for the 60 Minutes producer’s upcoming wedding to Colombian brewery heir Julio Mario Santo Domingo) puts it more simply: “Every time I wear his clothes, I feel fabulous. What I love about him is his lack of egocentricity—he’s extremely talented, and I trust him blindly.” The designer has al- ways been politically ac- tive. “I’m a young gay guy from a small town—any sort of women’s, racial, LGBTQ issue matters to me. I think those of us in fashion should do our part in our way.”He insists that his clothes are intended to embody everything that he is not—rather poignantly, he lists “all the things I don’t inherently feel: confident, sexy, strong, powerful, classy, chic.” Nevertheless, this shy mouse who confesses that he cries before his shows—“I don’t want to let my family down, my friends down!”—managed to pepper the front row at his latest show with his pals Gaga, Camp- bell, and Steven Klein, bouncing his baby on his knee. The musicwasbuoyant,themodelsafabulousmixof shapesand ethnicities, and the clothes—sophisticated halters and pencil skirts, sleek sheaths and sexy jumpsuits—had an unmistak- able youthful exuberance. “A lot has changed in such a short time,”Maxwell muses. “A year ago, I was going around with my little rack of samples.” Still, no matter how successful he becomes (and he wants to do it all—shoes! bags!), he insists he will remain true to his inclusive vision. “I never want to be the one who says, ‘You can’t sit with us’—regardless of age, income, color, size.” In a sense, he is doing it all for those young souls stuck in the middle of nowhere, mesmerized by glit- tering stars on the red carpet. “There is some kid out there,” Maxwell declares. “I want him to know that was me, too! It’s possible!”—LYNN YAEGER FOLLOW THE LEADER FIRST LADY MICHELLE OBAMA, IN MAXWELL’S DESIGN,WITH PRESIDENT OBAMA, 2016. TA L K I N G FAS H I O N >1 1 2 Classicmen’s shirtinggets retooled, tucked,and tailored. RACHAELWANG IN MARQUES’ALMEIDA. MICAARGANARAZ IN ALEN BUENOS AIRES. PERNILLE TEISBAEK IN CARVEN. HEDVIG OPSHAUG IN AJAEHA SHIRT. Come UNDONE OBAMA:ZACHGIBSON/AFP/GETTYIMAGES.COMEUNDONE:SANDRASEMBURG. TalkingFashion
- 109. T hom Browne wears many hats: In addition to running his own fiercely experimental label, he’s alsoinchargeof GammeBleu,thehigh-concept line from Moncler, the Milan-based winterwear specialist. And it’s with Moncler that Browne is now introducing a brand-new capsule collection of puffer jackets, cashmere sweaters, and chilly-day accessories. “With the election happening, it was the perfect thing to do—how better to represent America than with the flag itself?” Browne says, referring to the star-spangled motif splashed across not only puffers but cardigans, turtleneck sweaters, gloves, scarves, and more. That the designer saw Old Glory as an inspiration for the project speaks to his fo- cused métier: Browne has become famous for creating a sort of fashion democracy that continually swerves the codes of national dress. (Recent namesake collections have sprung from sources ranging from a Slim Aarons portrait of C. Z. Guest poolside in Palm Beach to photo clippings from mid- century-eraTimemagazines.)Thedirectnessof hisinterpreta- tion here, though, reflects a new level of patriotism. Thecollection’slaunchcoincideswiththeopeningof Mon- cler’sfirstflagshipstoreintheU.S.—a6,000-square-footvault on Manhattan’s Upper East Side that will sell each of Mon- cler’s ranges—there’s also a supersporty component dubbed Grenoble, and Gamme Rouge, designed by Giambattista Valli. (Browne’s new capsule will be available online as well.) The designer, who grew up skiing outside Allentown, Pennsylvania, longs to visit more mountains. Even Hector, his wirehaired dachshund, enjoys the cold. “He discovered snow at the Point, the old Rockefeller camp turned hotel in the Adirondacks,” says Browne with a laugh. “He loves it.”—NICK REMSEN PATRIOT ACT JACKET FROM THE SPECIAL MONCLER COLLECTION BY THOM BROWNE, $2,815; MONCLER, NYC. Earning HisStripes ThomBrownefliestheflag withanall-American-inspired collectionforMoncler. TA L K I N G FAS H I O N >1 14 V O G U E . C O M 112 V O G U E N O V E M B E R 2 0 1 6 LIAMGOODMAN TalkingFashion
- 111. P opular folklore assures us that nothing bad can happen at Tiffany’s—only wonderfully surpris- ing things (and, more recently, incontrovertibly cool things). The storied brand’s design director, Francesca Amfitheatrof, seemingly following this script, was thinking out of the blue box when she set Eddie Borgo a time-traveling challenge: to create a capsule collection fit for the turn-of-the-century sculptor and art patron Gertrude Vanderbilt Whitney—an aristocrat, artist, EddieBorgointroduceshisfine-jewelrylineforTiffany&Co. PEARLS OF WISDOM MODEL LILY STEWART WEARS A TIFFANY X EDDIE BORGO GOLD BRACELET, RING ($3,250), EARRINGS ($1,900), AND NECKLACE; TIFFANY.COM. CÉLINE DRESS. HeiressandGRACES and woman whose haute bohemian sensibility was ahead of her time. For Amfitheatrof, Borgo’s urban luster was equally suited to letting Vanderbilt Whitney’s legacy shine and to bringing new artistic energy to Tiffany. For Borgo, it’s his first foray into fine jewelry, with the TA L K I N G FAS H I O N >1 2 0 V O G U E . C O M 114 V O G U E N O V E M B E R 2 0 1 6 VICKIKING.FASHIONEDITOR:ALEXHARRINGTON.HAIR,ILKERAKYOL;MAKEUP,JENMYLES.DETAILS,SEEINTHISISSUE. TalkingFashion
- 117. pieceshandmadeintheprestigiousworkshopabove the Tiffany flagship on Fifth Avenue—a coup for the designer, who considers himself “an American through and through.” “What a fascinating New York story—now I walk into the Whitney [Museum] and understand how it came into existence thanks to Gertrude,” says Borgo over lunch in SoHo, heaving a rare biography with yellowed leaves onto the table. Borgo lost himself in the heiress’s family history on a recent trip to Cuba. “She was such a global young girl,” he says. “Traveling by ship, buying her clothes from Paris, absorbing the modern art of the time before setting up her own downtown studio.”(Vanderbilt Whitney’s move to the carriage house that would become her creative bolt-hole was highly scandalous at the time: daughter of cornelius vanderbilt will live in dingy new york alley, read one headline.) A disruptive spirit is felt in the collection. The draped-collar necklace and bracelet play to Borgo’s punky sensibility as much as to Whitney’s obses- sion with the classical muse (one of her most prom- inent works is the Titanic Memorial, dedicated in 1931 in Washington, D.C.). The illusion of fluidity and softness that master sculptors achieve with marble, Borgo achieves with structured 18K yellow gold and delicate drops of cultured freshwater pearls. “She collected pearls and adorned herself with them for frequent—and notoriously outra- geous—costume parties,” says Borgo, referencing the Vanderbilt family’s outlandish masquerades, which the youthful Gertrude relished. The pearl bar pin, meanwhile, is the height of fin de siècle finesse—but would also look perfectly easy pinned to a drop-shouldered Balenciaga denim jacket. Other pieces—an ear cuff and a pinkie ring among them—are more resolutely of-the-moment. “I love wearing the ring,”says Amfitheatrof. “It’s such an unusual piece—classic, with street edge.” After lunch, as Borgo and I make a pilgrimage to VanderbiltWhitney’scavernousEighthStreetstudio (where the space is still used as she intended, to host art classes and critiques), Borgo makes an impor- tant distinction: With only 80 numbered pieces in this very limited collection, the wearer of Tiffany x Eddie Borgo —from the UES or the LES and from NoHo to Dumbo—will be carrying precious cargo. “It’s less about Tiffany going downtown,” the de- signer says, “than Eddie Borgo moving uptown.” —EMMA ELWICK-BATES Piecesrangefromfinde sièclefinessetoresolutely of-the-moment TALKING FASHION>1 24 FullySTACKED In a moment of deconstructed denim and upscale hoodies, the most covetable accessory is also the most counterintuitive: It’s a big ol’ diamond bracelet, beaming with personality and presence. This ultimate arm candy “nods to the opulence of seventeenth- and eighteenth-century society balls,” says Dior’s fine-jewelry creative director, Victoire de Castellane, who likes to wrap her wrists in several for special effect. The look has a timeless appeal that resurfaced most recently in the couture collections and has since become a kind of shorthand for sophisticated, nonchalant cool. Luckily, you can get the sparkle without shelling out your savings: Costume crystals share an uncanny resemblance to the real thing. Old or new, fine or fake, the designs hit graphic high notes with huge stones and complement your everyday favorites. What makes Dior’s Salon de Mercure diamond-ribbon bracelet (ABOVE) so appealing is how it begs to be worn in a very unprecious way—with jeans and an elevated sweatshirt.—RACHEL WALDMAN GIRLS’ BEST FRIENDS FROM TOP: BULGARI BRACELET; (800) BVLGARI. MONIQUE PÉAN BRACELET; MONIQUEPEAN.COM. DIOR FINE JEWELRY BRACELET; (800) 929-DIOR. EVA FEHREN CUFF; BARNEYS NEWYORK, NYC. STEPHEN RUSSELL BANGLE; (212) 570-6900. CHANEL FINE JEWELRY BRACELET; CHANEL FINE JEWELRY BOUTIQUES. V O G U E . C O M COURTESYOFBRANDS.DETAILS,SEEINTHISISSUE. 120 V O G U E N O V E M B E R 2 0 1 6 TalkingFashion
- 121. W hen it comes to fashion storytelling, the right lineup of models (and non- models) can make a brand feel like an intimate family. Rachel Chandler, 29, and Walter Pearce, 21, are two of the strongest storytellers on the New York runways, working on casting for Eckhaus Latta and Maryam Nassir Zadeh (Chandler) and Hood By Air and Telfar (Pearce) for the RachelChandlerandWalterPearcechampionmodels’ individuality,onefashionworldatatime. CAST OF CHARACTERS WALTER PEARCE (IN A HOOD BYAIR SWEATER AND ACNE STUDIOS JEANS) AND RACHEL CHANDLER (IN PROENZA SCHOULER). spring-summer 2017 shows. Now they’re joining forces to cofound Midland, a new casting-agency hybrid. Though theykeepoppositesleepschedules(Pearceisnocturnal),both are photographers who have also been widely photographed themselves; they seem to know Change AGENTS TA L K I N G FAS H I O N >1 3 0 V O G U E . C O M 124 V O G U E N O V E M B E R 2 0 1 6 DRIUCRILLYANDTIAGOMARTEL.SITTINGSEDITOR:EMMAMORRISON.HAIR,ILKERAKYOL;MAKEUP,JOHNMCKAY.DETAILS,SEEINTHISISSUE. TalkingFashion
- 127. everyone in the room, but keep enough distance to look at people with a knowing eye. “Instead of findingthemodelwholookslikethegirl,wewillget you the actual girl,”Chandler says. Actual is the perfect word to describe their aes- thetic: Their models manage to look like no one else—not even other models. Many of them are striking women in their 30s with careers as artists, includingsculptorOlympiaScarry, painterWhitney Claflin, and Zumi Rosow, a jewelry designer who had the fashion world talking when she unexpect- edly walked Balenciaga and Vetements last spring. “It’s exciting to feel supported by people who are looking for something that is other,” Rosow says. “We’re trying to build a family,”Pearce adds. PearceandChandlergottoknoweachothertwo years ago while casting for Hood By Air. “I appre- ciated the fact that Rachel was showing me women who were not cute, ‘major’ girls,” says designer Shayne Oliver. “They were women who spoke ef- fectively without being spoken to.” Pearce soon began working for Oliver as a casting assistant, plucking young men from Instagram and from the street. “It wasn’t him checking boxes based on the Rolodex in front of him,” Oliver says. “It was him being aware of attitudes and finding them through the models.” (This fall, German photog- rapher WolfgangTillmans walked Hood By Air in what was regarded as a NYFW coup.) Both Hood By Air and Eckhaus Latta started out by casting their friends; as they’ve grown, they’ve developed a more elevated—but still extremely specific— ethos. “The main question is ‘How do we keep the Eckhaus Latta friends-and-family structure, but at the same time refine it in a way that is exciting and new?’ ” says Mike Eckhaus. “It’s important for us to find peoplewhohavelifetothem.” “We are a casting agen- cy, but community is re- ally important to us and to the brands we work with,” Chandler says. It’s a good strategy as brands gravi- tate toward a specific en- ergy—something almost beyond definition, though less gendered, less overtly “beautiful”; something be- yond words. As Oliver puts it: “Cool means nothing.” —KATHERINE BERNARD RUN, DON’T WALK OLYMPIC TRACK STAR TORI BOWIE WALKS IN TELFAR SPRING 2017 SHOW,WHICH WAS CAST BY PEARCE. TalkingFashion Paradise FOUND Cheerfultropical printsandhulamotifs signalaseasonless optimism. AMYADAMS IN EMILIO PUCCI. A FENDI DRESS AND LOEWE BAG. NAOMI WATTS IN ROKSANDA. A SUNNY PALM PRINT. A MARC JACOBS PRINT. TA L K I N G FAS H I O N >1 3 4 FOR FASHION NEWS AND FEATURES, GO TO VOGUE.COM 130 V O G U E N O V E M B E R 2 0 1 6 BOWIE:MARCUSTONDO/VOGUERUNWAY.COM.ADAMS:ERNESTO RUSCIO/GETTYIMAGES.JACOBS:COURTESYOFMARCJACOBS.WATTS: STEFANIAD’ALESSANDRO/GETTYIMAGES.ALLOTHERS:PHILOH.
- 131. N ew York Fashion Week is the alpha dog of the season’s calendar. I remember rushing about like a headless chicken my first year at Vogue, overwhelmed by the street photographers, the September heat (was it not meant to be fall?), the traffic, the sheer number of events—and hitching a ride with a senior Vogue editor who showed me her diary, which made mine seem like a quiet day at the beach. She confided with a big smile that her assistant warned her that morning that her day was “physically impossible”to accomplish. I still find it overwhelming (we all do), but somehow— maybe it’s New York’s je ne sais quoi—the week just works. Take Marc Jacobs: always a spectacle and the only show that starts sharply on time. Or Michael Kors: the season’s happy pill. I sit there front row with a silly smile while the industry’s fairest beauties strut past—Carolyn Murphy,Jamie Bochert, Kendall Jenner, Bella Hadid, Taylor Hill. I always love the energy at Proenza Schouler. Those boys have the coolest front row: Dan Colen, Jen Brill, Lauren Santo Domingo, Alexa Chung, Natasha Lyonne, the Traina sisters. And did I mention Rodarte? Who doesn’t love bobbing to the Velvet Underground, surrounded by neon lighting and woodland decor?ThakoonhadusneartheBrooklynBridgeonabalmy night, the sun slowly setting, the sparkling city bathed in a golden glow. Magical. Eckhaus Latta staged its show in a park on the Lower East Side on a makeshift runway, casting mostlynon-modelmodels,friends,artists,andcoolkids.And theHoodByAirshowwasundeniablyaconversationstarter, with sharp slogans, an original cast, strange music, a punk attitude, and a voice of its own. Asfornightlypleasures,mystandoutwasanintimategath- eringatAdamLippes’shome.Thelikesof HayleyBlooming- dale, Sarah Hoover, and Elettra Wiedemann mingled in his exquisitely decorated Greenwich Village apartment. Grilled steaks and veggies were served along two tables dressed in floral porcelain by Costanza Paravicini of Laboratorio Para- viciniinMilan.Thechicestdetailof all:linennapkinsembroi- deredinIndiaandmonogrammedbyhandbyhisstudiohere in New York. No photographers, no crowds—everyone was there for Adam and not to see and be seen. TalkingFashion WANT MORE OF THE UNEXPECTED? FOLLOW TNT’S ADVENTURES AT VOGUE.COM/TNT. BROUGHT TO YOU BY THE 2017 CHEVROLET MALIBU. ElisabethTNTnavigatesthego-goNewYork collectionswithbreathlessverve. TNT IN LIVING COLOR ABOVE: ADAM LIPPES’S DINNER FEATURED STUNNING HAND-PAINTED PORCELAIN PLATES. LEFT: THE VIEW AT THAKOON’S SHOW ALMOST RIVALED THE CLOTHES. HERO WORSHIP ABOVE: WE STOPPED FOR A CLASSIC NEWYORK PHOTO OP EN ROUTE TO THE MARCHESA SHOW. FIRETRUCK:COURTESYOFEMMAELWICK-BATES.PLATES:ADAMLIPPES/ ©INSTAGRAM.BROOKLYNBRIDGE:ELISABETHTNT/©INSTAGRAM. 134 V O G U E N O V E M B E R 2 0 1 6
- 133. On with theSHOWS I ’m looking ahead to a slew of fabulous fashion- themed exhibitions in the coming months. At the Anna Wintour Costume Center at the Metropolitan Museum of Art, “Masterworks: Unpacking Fashion” celebrates recent acquisitions and design resonances across the decades—from a wasp-waisted Jean-Philippe Worth gown from the 1890s, decorated with a flock of but- terflies, to Sarah Burton’s own miraculous 2011 butterfly- swarmed minidress for McQueen. TheChicagoHistoryMuseumhonorsitscity’sgreatnative couturier Mainbocher, a former French Vogue editor whose Paris and Manhattan establishments dressed the Duchess of Windsor and fellow immaculates for decades, while the Phoenix Art Museum showcases innovative eighties fashion in “Emphatics.” Meanwhile, Paris’s Les Arts Décoratifs explores what has constituted scandale in dress in “Quand le Vêtement Fait Scandale,” and London’s Barbican investi- gates the changing notions of what constitutes “The Vulgar.” At Manhattan’s Museum at F.I.T., meanwhile, you can catch “Proust’s Muse” (the fabled Comtesse Greffulhe) and “Black Fashion Designers,” which applauds the thrilling diversity (and sometimes unsung contributions) represented inthemuseum’scollections,fromtheNewYorkerAnnLowe, who made the romantic wedding dress for Jacqueline Ken- nedy, to today’s Duro Olowu and Hood By Air’s Shayne Oli- ver—via disco divas Scott Barrie and Stephen Burrows, the antic eighties’Patrick Kelly and Andre Walker, and Harlem’s hip-hop-king couturier Dapper Dan. —HAMISH BOWLES MATERIAL GIRLS LOOKS FROM DESIGNERS IN F.I.T.’S“BLACK FASHION DESIGNERS” SHOW. LEFT: MADONNAAT HOME IN A DRESS BY PATRICK KELLY, VOGUE, 1989. ABOVE: STEPHEN BURROWS AND HIS MODEL SUPPORTERS, VOGUE, 1977. Television’sNEWLOOKI have been amusing myself no end with BBC Worldwide’s The Collection, a tale of derring-do set in a Parisian couture house in the years immediately following the Second World War, starring Tom Riley, Richard Coyle, Mamie Gummer, newcomer Jenna Thiam, and Frances de la Tour as the bloodhound matriarch. The production design evokes the dusty glamour of that post-Occupation period, while the costumes by Chattoune + Fab—a.k.a. Françoise Bourrec and Fabien Esnard-Lascombe, who dressed Anna Mouglalis in Coco Chanel & Igor Stravinsky and collaborated with Karl Lagerfeld and Jean Paul Gaultier—bring to life the world of Pierre Balmain, Jacques Fath, Robert Piguet, and Marcel Rochas. The show takes me back to my student internship at Lachasse in London, then under the direction of Peter Lewis Crown (who, at Saint Martin’s, also taught John Galliano and me how to pad-stitch a jacket’s revers). Many of the clients (and perhaps a model or two) had been with the house since the era in which The Collection is set. I couldn’t have enjoyed myself more.—H.B. SKIRTING AROUND DESIGNERS CHATTOUNE + FAB’S DIOR-INSPIRED CREATION FOR JENNATHIAM. 136 V O G U E N O V E M B E R 2 0 1 6 MADONNA:PATRICKDEMARCHELIER/CONDÉNASTARCHIVE.BURROWS:OLIVIEROTOSCANI/CONDÉNASTARCHIVE.SKIRTINGAROUND:NICKBRIGGS/LOOKOUTPOINT2016. TheHamishFiles
- 144. ANNIE LEIBOVITZ Overfourandahalfdecades,AnnieLeibovitzhasrefinedtheartofportraitureinimagesthat areprofound,provocative,andrevelatoryofthetimeswelivein.HerphotographsforAmerican VogueandVanity Fair,andforbooksandexhibitions,havebroughtusanextraordinaryrange ofsubjectsfromthemostcelebratedtothemosthumble.In“Women,”anexhibitionthatopened attheCorcoranGalleryofArtinWashington,D.C., sixteenyearsago,Leibovitz’slenscaptured female Supreme Court justices, senators, artists, athletes, maids, mothers, businesswomen, comedians,actors,architects,andsoldiers. Amplifyingthatphenomenalbodyofwork,Leibovitz,withexclusivecommissioning partner and leading global wealth manager UBS, is presenting the traveling exhibition “WOMEN: NewPortraits.”Tencities—London,Tokyo,SanFrancisco,Singapore,HongKong,MexicoCity, Milan,Frankfurt,NewYork,andZurich—arehoststothephotographer’sresponsetochanges intherolesofwomen.Imagesfromtheoriginalprojectarepresentedalongsiderecentsubjects, allofwhomtouchourlivestoday. “WOMEN:NewPortraits” BayviewCorrectionalFacility, thefuturehomeoftheWomen’sBuilding 550 West Twentieth Street, New York, New York 10011 November18–December11,2016 www.ubs.com/annieleibovitz #WOMENxUBSby#AnnieLeibovitz WOMEN:NEWPORTRAITS The former women’s prison is being transformed by the NoVo Foundation and the Lela Goren Group into a global hub for the girls’ and women’s rights movement. V O G U E . C O M V O G U E N O V E M B E R 2 0 1 6 147
- 145. Patti Smith, musician, writer, artist, Far Rockaway, Queens, New York, 2016 She has been making music and art since the early 1970s, when she stood in front of her band in skinny jeans and a ripped T-shirt, giving ecstatic, charismatic, profane performances that merged poetry and rock ’n’ roll. Downtown New York clubs were her natural milieu, but in 1975 she made an album for a major record label. This was Horses, which is now pretty unanimously considered one of the greatest rock albums of all time. In the cover photograph, taken by her friend Robert Mapplethorpe, she gazes out insolently, her black jacket tossed over the shoulder of a white man’s shirt. She has had only one Top 40 hit—“Because the Night”— in a long career, but her influence has been significant, on fashion as well as music. She has been inducted into the Rock and Roll Hall of Fame and won the 2010 National Book Award for Just Kids, a memoir of her relationship with Mapplethorpe. For the fortieth anniversary of Horses, she and the band performed live versions around the world.
- 147. Denise and Linamandla Manong, pediatric-AIDS health-care worker and her daughter, Khayelitsha township, Western Cape, South Africa, 2014 A grassroots, African- based organization called mothers2mothers is having great success reducing the number of babies born HIV positive. Denise is living with HIV, but her children are not. When she became pregnant and discovered that she was infected with the virus, she was put on a drug- treatment regimen that kept her healthy and prevented the transmission of HIV to her baby. A Mentor Mother, a local woman who was also HIV positive and who was employed and trained by mothers2mothers, supplied the support and advice that overburdened health-care facilities could not. After the birth of her daughter, Denise herself became one of more than 1,000 Mentor Mothers in sub-Saharan Africa who have helped to virtually eliminate HIV in babies born in the mothers2mothers program.
- 149. Andrea Medina Rosas, women’s rights lawyer, Chimalhuacán, Mexico, 2016 Her mother is a feminist who founded a women’s rights organization when Andrea was a teenager. The first woman who came to them for help was a victim of domestic violence. That was the beginning of Andrea’s involvement in the defense of victims of sexual violence and also the protection of their defenders. The watershed event for Mexican feminists of Andrea’s generation was the recognition, starting in the early 1990s, that hundreds, perhaps thousands, of young women in and near Ciudad Juárez, across the border from El Paso, were being abducted, tortured, and murdered. Andrea was a member of the litigating team in what became known as the Campo Algodonero case, which was brought before the Inter-American Court of Human Rights in 2007. Campo Algodonero is an abandoned cotton field in Ciudad Juárez where the bodies of eight young women were found. The case was brought against the government of Mexico for violating its human rights obligations to investigate, prosecute, and prevent crimes against women and girls. In 2009, the plaintiffs won. The Mexican state was required to comply with a broad set of remedial measures, including reopening investigations into disappearances, providing reparations to the families of victims, and developing a clear set of procedures for assuring human rights for women. Andrea was photographed in the municipality of Chimalhuacán, which is part of the greater Mexico City urban area. She is standing near a spot where pink crosses are erected to memorialize the murdered women whose bodies have been found there.
- 151. Alexandra Fuller, writer, Kelly, Wyoming, 2016 She grew up in what was then Rhodesia—later Zimbabwe—in the 1970s, during the brutal civil war that ended in the defeat of the white government. Fuller’s parents were British farmers who stayed in Africa after they lost their land. When she was in her early 20s, she married an American who was working as a river guide on the Zambezi River. They moved to Wyoming, where she raised three children and began writing. Her books, which include the memoirs Don’t Let’s Go to the Dogs Tonight (2001) and Cocktail Hour Under the Tree of Forgetfulness (2011), take a precise and personal approach to issues such as racism and segregation. She is an uninhibited witness, both wry and poetic in her account of a childhood in which spitting cobras in the pantry, malaria, alcoholism, and land mines were taken for granted, along with the fierce beauty of the country and the complex passions of her eccentric mother and father.
- 154. James Franco, actor, director, producer, artist, writer, and Marina Abramović, performance artist, New York City, 2016 The body is Marina Abramović’s subject. Her work inflicts all kinds of ordeals and mortifications on her own flesh. She has ingested antipsychotic drugs that caused temporary catatonia, hurled herself at walls, passed out and nearly died in a ring of flames, cut a five-pointed star into her abdomen with a razor blade, and let an audience do anything they wanted to her for six hours, including possibly shooting her. In 1997 she won the Golden Lion at the Venice Biennale for a performance in which for four days she scrubbed bloody and maggot-infested cow bones in a basement. For 77 days in 2010, she sat immobile for eight to ten hours in the atrium of the Museum of Modern Art in New York, gazing at spectators, one at a time, who waited in line to be able to sit across from her. Hundreds of thousands of people lined up, some of them overnight, to get a chance to participate. She has just written a memoir, Walk Through Walls. This photograph is a work in progress.
- 156. i’d been living in our hand-built, ten-by-twelve-foot cabin in Maineformorethansixweekswhentheboxarrived.Aswith all such packages, its smallness belied the power of its con- tents—a dozen shining pots of cosmetic glitter that tumbled ontothecedardeck.Andtheretheylay,utterlyforeigninthis leafy place, and perfectly fascinating. The idea of exploring the abundance of glitter that has breezed its way onto the runway in recent months may never have landed so strange. But as sophisticated applications (patted onto mouths) and unconventional placements (traced just beneath brows) have elevated these shimmering flecks beyond the teen realm, they havealsoluredaborn-againminimalistlikeme,wholeftmore complicated makeup behind when I bade farewell to life in Paris nine years ago. New riffs, like makeup Flecks Appeal FLASH FORWARD MODEL GRACE ELIZABETH, IN A BALENCIAGA SWEATER, PHOTOGRAPHED BY BEN HASSETT. MAKEUP, PAT MCGRATH LABS; HAIR, ILKER AKYOL. FASHION EDITOR: JASMINE HASSETT. Itshimmers, itshines,but cananewwave ofgrown-up glittertranscend itscraft-party past?Jessica KerwinJenkins getsasparkle inhereye. B E AU T Y>16 2 EDITOR: CELIA ELLENBERG BeautySTILLLIFE:LUCASVISSER.BACKGROUND:MEHRONPARADISEGLITTERINPASTELSKYBLUE.DETAILS,SEEINTHISISSUE.