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British Vogue - 11 2018

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The Spirit of Travel
louisvuitton.com
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The Spirit of Travel
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CONTENTS
Regulars
33 Editor’s letter
42 Notices
Behind the scenes of the issue
46 Vogue.co.uk
Keeping you ahead of the trends
Trench coat, from
£5,549. Shirt,
from a selection.
Tank top, from
£402. All Versace.
Shoes, £850,
Alberta Ferretti.
Earrings, price on
request, Bulgari
127 Checklist
Perfect wear for rainy days
209 Stockists
Vogue trends
ON THE COVER
57 Supple sophistication
Introducing the chicest new-season
dress: any cut, so long as it’s leather
60 Knitting society
Cosy up in head-to-toe knitwear
65 Chain lightning
This season, the most striking shoulder
bags come with metal-link straps
66 Gather round
The drawstring boot with mass appeal
68 Super-retro
It’s a vintage fashion mash-up
“This season’s
take on afterdark dressing is
big on style… be
unapologetic in
your approach”
70 Put on your metal
Bronze and gold and silver…
all together now
72 Haute notes
The couture-like touches that add up
to a highbrow fashion statement
75 Relight my fire
Why deadstock is the buzzword for
savvy designers. By Harriet Quick
78 Vogue Darling
Actor Ella Balinska reveals what
makes her world go round
COVER LOOKS
ALASDAIR McLELLAN. SCULPTURES BY BECKY MARTIN
This month, Vogue has been published with two different covers. Fran Summers
wears, left, silk-lamé asymmetric dress embroidered with chantilly lace, to order,
Armani Privé. Platinum and diamond earrings and ring, price on request, Cartier.
Ribbon, worn as hairband, from £2 a metre, VV Rouleaux. Right, flocked silk-faille
gown, to order, Giambattista Valli Haute Couture. Platinum and diamond earrings
and necklace, price on request, Cartier. Ribbon, worn as hairband, from £2 a metre,
VV Rouleaux. Get the look: make-up by Mac Cosmetics. Eyes: Kohl Power Eye Pencil
in Rich Black, Bold & Bad Lash Mascara. Lips: Amplified Lipstick in Vegas Volt.
Skin: Studio Fix Fluid SPF 15 Foundation. Hair by Kérastase. Kérastase Forme Fatale
Voluptuous Blow-dry Gel. Hair: Christiaan. Make-up: Dick Page. Nails: Rieko Okusa.
Styling: Edward Enninful. Photographs: Inez and Vinoodh
The glamorous life,
page 170
Jewellery
80 Out of the blue
Carol Woolton leafs through
Tiffany’s Blue Book collection
82 Forget-me-not
When jewels imitate life the results
can be memorable. By Carol Woolton
Arts & culture
87 The big draws
Hayley Maitland reviews autumn’s
crowd-pulling art exhibitions
90 Playing her part
Vanessa Redgrave talks acting and
activism to Olivia Marks.
Photographs by Perry Ogden.
Styling by Julia Brenard
Vogue living
101 Art house
Talib Choudhry visits the West
Hollywood home of a gallerist
and a furniture dealer
104 In peak condition
Tip-top off-piste culture from
the “Aspen of France” to the
Italian Dolomites
Viewpoint
109 Back to school
Reading, writing and activism:
Malala Yousafzai reflects on life
at Oxford University
114 The time’s now
Actor Gemma Arterton discusses
a year of empowering change and
increasing equity in sexual politics
95 Life & style
Julia Sarr-Jamois’s monthly curation
Vogue tech
97 In good taste
Vive le Mayfair deli revolution!
By Kate Spicer
116 Building a better world
Entrepreneur and humanitarian
Carmen Busquets’ digital tools
> 28
25
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“To me,
streetwear
feels like
energy,” says
Samuel Ross, the
designer behind
A-Cold-Wall
CONTENTS
Close knit,
page 182
Wonder wall,
page 120
Dapper daze,
page 186
Jacket, £1,034. Top, £653.
Trousers, £958. Belt bag,
£256. All A-Cold-Wall
Above: jacket,
£2,410. Polo shirt,
£570. Denim
trousers, £470. Belt,
£315. Socks, £145.
Mary-Janes, £485.
All Miu Miu
120 Wonder wall
Designer Samuel Ross of
A-Cold-Wall talks to Olivia Singer
about breaking down barriers
123 Stealing a march
Ambush and Dior designer Yoon Ahn
is a study in cool, says Ellie Pithers
Beauty & wellness
131 Glowing gone?
Goodbye super-dewy skin, hello
modern matt. Funmi Fetto celebrates
the return of powder
134 A clear future
Jessica Diner tackles the painful
issue of adult acne
137 Waste not…
Kathleen Baird-Murray explores
sustainability in the beauty industry
SUBSCRIBE TO
28
turned up to extraordinary.
Photographs by Alasdair McLellan.
Styling by Venetia Scott
143 ON THE COVER
New-age gyms
Brain training and facial cardio are
taking workouts to another dimension.
By Lauren Murdoch-Smith
182 Close knit
Anders Christian Madsen meets the
tightly woven Missoni matriarchy.
Photographs by Danilo Scarpati.
Styling by Gianluca Longo
144 Beauty musings
This month’s freshest beauty news
186 Dapper daze
Edwardian tailoring plus a rock’n’roll
sensibility equals the ultimate Teddy
Girl style. Photographs by Theo Sion.
Styling by Max Pearmain
Fashion & features
148 ON THE COVER
Fairy tale of New York
Once upon a time, when Fran Summers
stepped out in dreamy couture on the
streets of the Big Apple, magic
happened. Interview by Ellie Pithers.
Photographs by Inez and Vinoodh.
Styling by Edward Enninful
162 Taking care of business
Widows – the latest film from director
Steve McQueen – is an explosive
affair. Giles Hattersley meets its four
female stars. Photographs by Arthur
Elgort. Styling by Patrick Mackie
170 The glamorous life
After-dark dressing gets the dial
196 ON THE COVER
A model career
The ’90s Brit models who
changed the face of fashion are
now busy shaking up the world
of business, says Harriet Quick
202 ON THE COVER
All eyes on Stormzy
The grime superstar turns
philanthropist. By Tshepo Mokoena.
Photographs by Jack Davison.
Styling by Nell Kalonji
Back page
What would Neneh Cherry do?
The singer and DJ takes our quiz
Turn to page 122 for our fantastic subscription offer, plus free gift
LEON MARK; DANILO SCARPATI; THEO SION
Spotlight
141 Back to matt
The best shine-free make-up.
By Jessica Diner
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SERPENT BOHÈME
FIRST JEWELLER OF THE PLACE VENDÔME
)N&R½D½RIC"OUCHERONISTHElRSTOFTHEGREATCONTEMPORARYJEWELLERSTOOPENA"OUTIQUEONTHE0LACE6ENDÇME
15 OLD BOND STREET MAYFAIR, LONDON
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EDITOR’S LETTER
The crowds part for
our cover star Fran
Summers in Fairy Tale
of New York (page 148)
INEZ AND VINOODH; MERT ALAS AND MARCUS PIGGOTT; JO METSON SCOTT; CORINNE DAY
It’s not often…
… that you get to witness the moment a model becomes a
supermodel, but on a Saturday afternoon in New York’s Times
Square earlier this summer – in the company of photographers
Inez van Lamsweerde and Vinoodh Matadin, and surrounded
by thousands of tourists and the roaring Manhattan traffic
– I got to see exactly that.
The young woman in question was Fran Summers, a
19-year-old from North Yorkshire, who Vogue readers will
be familiar with from the frequency with which she has
graced our pages these past months. From the moment
I met her, when she joined eight other new faces on our May
cover, I knew that she had a magical quality. In a room
packed with big personalities, full of nerves and excitement,
I noticed how friendly she was with the other models, calming
them down and making sure everyone felt as gorgeous as
possible. She was so… kind.
Kindness was not always the thing when I started out as
a stylist in the early 1990s. Yet, in 2018, perhaps it is this
quality coupled with her extraordinary beauty that, in catwalks
and campaigns, has made it Fran’s year. The time had come
to seal the deal with her first solo British Vogue cover – but
what should the story be?
After the couture shows, an idea began to take shape. This
season, from Givenchy to Sonia Rykiel, the collections were
beautifully pure, devoid of excessive embellishments, while
remaining impossibly, jaw-droppingly lavish. What if, I
wondered, we took these elegant silhouettes across the Atlantic
to create an ode to the British invasion of the 1960s, to Jean
Shrimpton and the enduring glamour of an Englishwoman
in New York? Cut to myself, Inez, Vinoodh and our teams
commandeering one of the busiest thoroughfares on earth on
a boiling hot afternoon. Because Fran is a proper beauty with
universal appeal, there were actual gasps from onlookers as
I walked her through the streets in her Dior gown. Literally,
the crowds parted, taxis stopped, horns honked and the whole
world seemed to stop and stare. She had arrived. It was, as
we say in fashion, “a moment”.
As I look at Fran, in her exciting first stages of success,
I think of what an extraordinary career modelling can be. On
page 196, we chronicle the exciting new chapters in the lives
of some of the 1990s most beloved British supermodels. These
are the girls I grew up with, and I’ve been fascinated to note
that, from Kate Moss to Stella Tennant, the chicest > 39
What did the ’90s
supers – including
Stella Tennant (above
left) and Kate Moss
(above) – do next?
Find out on page 196
33
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EDITOR’S LETTER
Steve McQueen’s Widows:
from left, Elizabeth Debicki,
Viola Davis, Cynthia Erivo
and Michelle Rodriguez
Above: the life and times of
Stormzy (page 202). Below left:
1980s-infused glamour, on page 170.
Below right: Gemma Arterton, Emma
Watson and Lupita Nyong’o wearing
black in support of Time’s Up
JACK DAVIDSON; GETTY; I-IMAGES; CAMERA PRESS/MARCELO CORREIA; ALASDAIR MCLELLAN. VITTORIA
CERETTI WEARS TROUSER SUIT, DICE KAYEK. SHIRT, EMANUEL UNGARO. BOOTS, MARC JACOBS. CLUTCH,
SIMON MILLER. RINGS, FROM A SELECTION, ARA VARTANIAN, DIOR JOAILLERIE AND GRIMA
I could
not be more
proud to
have Malala
Yousafzai
on our pages
new trend in your forties is entrepreneurship; Kate has her
burgeoning agency, Lorraine Pascale is a culinary star, Stella
is doing a wonderful job at Holland & Holland. Beautiful
as ever, and mothers now, too, they show how you can bring
your flair to bear on a new challenge at any stage in life. Their
tales of reinvention are inspiring to read.
Speaking of inspiration, Malala Yousafzai has written
exclusively for Vogue about her first year at university. As she
returns to Oxford this month, I could not be more proud to
have this wonderful young woman – who became a global
figurehead for educational rights six years ago when the Taliban
attempted to kill her simply because she wanted to go to
school – on our pages. Read her powerful tale on page 109.
Meanwhile, another maverick, contributing editor and
Academy Award-winner Steve McQueen, returns to cinemas
with his explosive follow-up to 12 Years a Slave. On page 162,
meet the amazing cast of his thriller Widows; four talented
women changing the face of mainstream cinema.
Lastly, on page 114, we mark the anniversary of the
Harvey Weinstein allegations and birth of the #metoo and
Time’s Up movements. Actor Gemma Arterton writes about
the industry meetings she’s been quietly hosting at her home,
where beyond the headlines of harassment and abuse, actors
such as Emma Watson and Felicity Jones have been working
to change their industry from the inside out. It is a reminder
to us all that, whatever world we occupy, change takes the
time and energy of those determined to make a difference.
Thank you to Malala, Steve and Gemma – and to all those
for whom the work never stops.
Malala out in force:
above, from top, at
Oxford University,
and speaking at an
event in Brazil
39
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NOTICES
November’s Vogue Darling Ella Balinska (page 78) is
on the cusp of global stardom, with a lead role
in Elizabeth Banks’ remake of Charlie’s Angels,
due out next year. So which action heroines will
she be looking to for inspiration while filming?
“Angelina Jolie in Salt, Charlize Theron as Lorraine
Broughton in Atomic Blonde and Freema Agyeman’s
Martha Jones in Doctor Who. Yes. Yes. Yes.”
A year after the
Weinstein scandal hit
Hollywood, actor
Gemma Arterton
reflects on a
changing industry
and the role she has
played in shaping its
future (page 114).
Legendary duo
Inez + Vinoodh
photographed
Yorkshire beauty
Fran Summers (left)
for the model’s first
solo British Vogue
cover. Turn to
page 148 to see her
take Manhattan
in haute couture.
MEET & GREET
This month sees
the release of Academy
Award winner and
contributing editor
Steve McQueen’s
Widows. Meet the stars,
photographed by Arthur
Elgort, in Taking Care of
Business on page 162.
Step inside Neneh
Cherry’s world
in Vogue Asks on
the back page,
where the Swedish
musician discusses
everything from
Afrobeats to her
daughter Mabel.
“Stormzy smiled when
I pointed out the Penguin
Classics lining a shelf
in the restaurant where
we were having lunch,”
recalls UK editor of
Noisey, Tshepo Mokoena
of her interview with
the grime star (page
202). “It felt like a happy
coincidence now that
he has his very own
imprint with the
publishing house.”
Carmen Busquets
– the stylish
e-commerce
pioneer behind
the likes of
Net-a-Porter
and CoutureLab
– shares her tech
essentials on page
116, including the
world’s first truly
customisable
sneaker.
GETTY IMAGES; MAX LONGMUIR; JASON LLOYD-EVANS; MITCHELL SAMS; DAISY JONES;
OLEG COVIAN; WOLFGANG TILLMANS; ENTERTAINMENT PICTURES/EYEVINE
On page 109, activist
and student Malala
Yousafzai looks back
on her first year at
Oxford University.
Her advice to new
undergraduates as term
starts? “I encourage
any first-year student
to take advantage
of the opportunities
university has to offer
– lectures, sports, films,
book clubs – all of
it! Try everything
and figure out what
interests you.”
VALENTINO HAUTE COUTURE
Introducing the faces behind
this month’s issue
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VOGUE.CO.UK
THE TREND REPORT
From the beauty looks that dominated the catwalks to the biggest fashion hits for next season,
find out everything you need to know about the s/s ’19 shows online now
GETTING TO KNOW YOU
JEREMY SC
VALENTIN
YUDASHKIN
Whether you channel
a neon raver, Morticia
Addams or something
ghoulish but glamorous,
we have all the
Halloween make-up
inspiration you need.
OTT
Fright night
46
Watch Fran Summers – this month’s cover star, and one of the
most successful yet down-to-earth models of the moment – take
our Crisp Challenge (above) and head home to Yorkshire (below).
JASON LLOYD-EVANS; MITCHELL SAMS;
ALASDAIR MCLELLAN; SAM GOLDWATER;
LUCA LAMARO; REX/SHUTTERSTOCK
ASHLEY WILLIAMS
Left: Anjelica
Huston as
Morticia
Addams
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EDWARD ENNINFUL
EDITOR-IN-CHIEF
CREATIVE DIRECTOR JOHAN SVENSSON
DEPUTY EDITOR & FASHION FEATURES DIRECTOR SARAH HARRIS
MANAGING EDITOR MARK RUSSELL
FASHION DIRECTOR VENETIA SCOTT
FEATURES DIRECTOR GILES HATTERSLEY
EXECUTIVE ASSISTANT TO THE EDITOR-IN-CHIEF DEBORAH ABABIO
EDITORIAL CO-ORDINATOR SOEY KIM
FASHION MARKET DIRECTOR DENA GIANNINI
SENIOR CONTRIBUTING FASHION EDITOR KATE PHELAN
SENIOR FASHION EDITOR POPPY KAIN
FASHION EDITOR-AT-LARGE JULIA SARR-JAMOIS
FASHION ASSISTANTS CAROLINA AUGUSTIN, ENIOLA DARE, ROSIE SMYTHE
JEWELLERY EDITOR CAROL WOOLTON
MERCHANDISE EDITOR HELEN HIBBIRD
CONTRIBUTING FASHION EDITORS
GRACE CODDINGTON, JANE HOW, JOE McKENNA, MAX PEARMAIN,
CLARE RICHARDSON, SARAH RICHARDSON, MARIE-AMELIE SAUVE
FASHION BOOKINGS DIRECTOR ROSIE VOGEL-EADES
FASHION BOOKINGS CO-ORDINATOR ROMAIN BOUGLENAN
CONTRIBUTING CASTING DIRECTOR ASHLEY BROKAW
FASHION FEATURES EDITOR ELLIE PITHERS
SHOPPING EDITOR NAOMI SMART
EXECUTIVE FASHION NEWS EDITOR OLIVIA SINGER
FASHION CRITIC ANDERS CHRISTIAN MADSEN
BEAUTY & LIFESTYLE DIRECTOR JESSICA DINER
BEAUTY & LIFESTYLE EDITOR LAUREN MURDOCH-SMITH
BEAUTY & LIFESTYLE ASSISTANT TWIGGY JALLOH
BEAUTY EDITOR-AT-LARGE PAT McGRATH
CONTRIBUTING BEAUTY EDITORS
KATHLEEN BAIRD-MURRAY, FUNMI FETTO, VAL GARLAND,
SAM McKNIGHT, GUIDO PALAU, CHARLOTTE TILBURY
COMMISSIONING EDITOR OLIVIA MARKS
FEATURES ASSISTANT HAYLEY MAITLAND
EDITOR-AT-LARGE CAROLINE WOLFF
CONTRIBUTING STYLE EDITOR GIANLUCA LONGO
SENIOR DESIGNER EILIDH WILLIAMSON
DESIGNER PHILIP JACKSON
PICTURE EDITOR CAI LUNN
DEPUTY PICTURE EDITOR BROOKE MACE
ART CO-ORDINATOR BEN EVANS
CHIEF SUB-EDITOR CATHY LEVY
DEPUTY CHIEF SUB-EDITOR VICTORIA WILLAN
VOGUE.CO.UK
DIGITAL EDITOR ALICE CASELY-HAYFORD
ASSOCIATE DIGITAL EDITOR KATIE BERRINGTON
BEAUTY & HEALTH EDITOR LISA NIVEN
MISS VOGUE EDITOR NAOMI PIKE
NEWS EDITOR ALICE NEWBOLD
ENGAGEMENT MANAGER ALYSON LOWE
DIGITAL PICTURE EDITOR & CONTENT PRODUCER PARVEEN NAROWALIA
DIGITAL PICTURE ASSISTANT POPPY ROY
VIDEO PRODUCER MINNIE CARVER
CONTRIBUTING EDITORS
ADWOA ABOAH, LAURA BAILEY, SINEAD BURKE, LAURA BURLINGTON, NAOMI CAMPBELL, ALEXA CHUNG, MICHAELA COEL,
RONNIE COOKE NEWHOUSE, CLAUDIA CROFT, TANIA FARES, ALEXANDER GILKES, KLOSS FILMS, NIGELLA LAWSON, PATRICK MACKIE,
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Perlée Collection
Pink gold, yellow gold
and diamond bracelets.
Haute Joaillerie, place Vendôme since 1906
9 NEW BOND STREET - HARRODS - SELFRIDGES
www.vancleefarpels.com - +44 20 7108 6210
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TRENDS
HAIR: KEI TERADA. MAKE-UP: LUCY BURT. NAILS: AMA QUASHIE. SET DESIGN: SOPHIE DURHAM. MODELS:
KESEWA ABOAH, IRIS LAW, JESS MAYBURY, RADHIKA NAIR, LILI SUMNER. WITH THANKS TO BIG SKY STUDIOS
Edited by Naomi Smart
Styling by Julia Sarr-Jamois
SUPPLE
SOPHISTICATION
A butter-soft leather dress is your passport
to chic this autumn. Tailored or loose, your new
go-to should be finely worked and as easy to wear
as a T-shirt. Photographs by Scott Trindle
From left: Radhika
wears dress, £249,
Warehouse. Chelsea boots,
£395, 3.1 Phillip Lim.
Fringed bag, £6,500, Dior.
Kesewa wears belted
dress, £5,180, Alexander
McQueen. Boots, £605,
APC. Lili wears studded
dress, £8,040, Hermès.
Bag, £287, By Far.
Hoop earrings, from
£250, Tom Wood. Jess
wears dress, £3,150,
Tod’s. Earrings,
£325, Balenciaga
57
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TRENDS
WEAR WITH…
VICTORIA BECKHAM
STELLA MCCARTNEY
GIVENCHY
AKRIS
LOEWE
SONIA RYKIEL
Suede boots, £1,300,
Saint Laurent by
Anthony Vaccarello
Leather bag,
£8,300, Delvaux
“Seeking out vegan alternatives? Glossy, coated fabrics offer
a look that’s equally charged with sex appeal”
Ellie Pithers, fashion features editor
Leather bag,
£403, By Far
Dresses, above, from left: leather, £2,580, Rochas. Sleeveless leather, £290, Cos.
Leather with cut-out detail, £1,417, Rokh, at Km20.ru. Faux leather, £475, Nanushka
58
Resin earrings, £235,
Dinosaur Designs
JASON LLOYD-EVANS; MITCHELL SAMS; PIXELATE.BIZ
Leather boots, £995,
Jimmy Choo
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РЕЛИЗ ПОДГОТОВИЛА ГРУППА "What's News" VK.COM/WSNWS
KNITTING
SOCIETY
Question: what’s more comforting
than a sweater? Answer: head-to-toe
knitwear. Cast on to a new mix
that’s easier to pull off than it looks
From left: Kesewa wears vest, £35. Belt, £35.
Both Massimo Dutti. Trousers, £770, Etro.
Beaded bag, £40, Mango. Radhika wears coat,
£15,500, Dior. Sweater, £810. Skirt, £910.
Both Jil Sander. Boots, £785, Kenzo Memento.
Jess wears cardigan, £2,255, Akris. Dress, £455,
Kenzo. Boots, from £854, Nina Ricci. Earrings,
from £680, Jennifer Fisher. Lili wears sweater,
£510, Alberta Ferretti. Dress, £1,975. Scarf, £450.
Both Sonia Rykiel. Boots, £530, Red Valentino
60
SCOTT TRINDLE
Autumn’s unlikely maxim is knit up, look sharp.
The surprise this season is that the cosiest layers of
wool – whether ribbed or patchworked, Fair Isle
or fluff-heavy, stripy or zigzaggy – not only provide
instant jollity but, worn from top to bottom, suddenly
appear seriously chic. A strong dose of colour is key:
this trend has a pleasingly retro feel that plays out
best in paintbox brights. A focus on the waist – and a
nipped-in silhouette – will also help a hodgepodge
of textures and multiple patterns to look considered,
rather than chaotic. As for accessories, 1970s-hued
beaded bags and slouchy boots keep
things feeling exuberant. EP
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TRENDS
61
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Chloe.com
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TRENDS
Embroidered wool
sweater, £1,765,
Pringle of Scotland.
Wool trousers,
£492, Beaufille
“Supersized, sequinstrewn or simply smileinducing – who could
resist Calvin Klein’s
Road Runner style? –
the trophy knit is set
to warm your heart”
ISABEL MARANT
CHRISTOPHER KANE
DIOR
MICHAEL KORS
COLLECTION
CALVIN KLEIN
SCOTT TRINDLE; JASON LLOYD-EVANS; MITCHELL SAMS; PIXELATE.BIZ
Naomi Smart, shopping editor
From top: zip sweater, £59,
Topshop. Wool cardigan, £720, Zadig et
Voltaire. Fringed wool sweater, £695,
Dries Van Noten, at Harvey Nichols.
Wool intarsia sweater, £295, Coach
1941. Striped wool sweater, £385,
Dsquared2. Sweater with blouse detail,
£422, Sacai, at Dover Street Market
63
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РЕЛИЗ ПОДГОТОВИЛА ГРУППА "What's News" VK.COM/WSNWS
TRENDS
Crocodile, £15,170, Gucci
Leather, £980, Fendi
Leather, £750, Burberry
Sequined, £1,190, Paco Rabanne
Leather, £339, Marc Cain
SCOTT TRINDLE; PIXELATE.BIZ
Leather, £2,790, Chanel
From left: Kesewa
wears top, £540,
Giorgio Armani.
Jeans, £49, Topshop.
Leather bag, £975,
Alexander Wang. Iris
wears poloneck, £855,
Lanvin. Leather jeans,
£1,125, ALC. Beaded
bag, £8,290, Tom Ford.
Jess wears top, £13,
Bershka. Skirt, £445,
Mulberry. Leather bag,
£1,250, Balenciaga
Chain lightning
Leather, £395, Yuzefi, at Net-a-Porter.com
Flash your fashion credentials with this season’s
take on the shoulder bag… Whatever its colour, pattern,
embellishments or shape, just ensure it swings
from a shining, metal-link strap
65
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TRENDS
GATHER
ROUND
Black patentleather and
nylon boots,
£645, Prada
66
SCOTT TRINDLE
Introducing Prada’s
drawstring boot –
where patent leather
and nylon meet
Move Collections with Gigi Hadid
M E S S I K A .C O M
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# Dia m o n d A d dic t io n
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This page: dress,
£2,680, Michael Kors
Collection. Poloneck, from
£450, Proenza Schouler.
Earrings, £450, Fendi.
Opposite, from left:
Radhika wears jacket,
£860. Shorts, £360. Both
Emporio Armani. Blouse,
£605, Mulberry. Boots,
£980, Fendi. Sunglasses,
£220, Prada. Jess wears
jacket, £510. Trousers,
£270. Both MSGM. Blouse,
£209, Sandro. Boots,
£1,041, Marine Serre x
Nicholas Kirkwood, at
Matchesfashion.com.
Earrings, £235, Miu Miu.
Lili wears coat, £1,690,
Marni. Top, £185, Maje.
Belt, from a selection,
Mugler. Boots, £730,
Miu Miu. Bag, £2,800,
Louis Vuitton
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TRENDS
Above, from top: rollneck, £178,
Tory Burch at Net-A-Porter.com.
Earrings, £340, Rachel Comey.
Shoes, £985, Balenciaga. Below:
skirt, £845, By Malene Birger
Super-retro
MARINE SERRE
ALEXANDER WANG
BALENCIAGA
CHLOE
Olivia Singer,
executive fashion
news editor
PRADA
“Pair an
’80s dress with
’60s pumps
for thoroughly
modern
impact”
LOUIS VUITTON
SCOTT TRINDLE; JASON LLOYD-EVANS; MITCHELL
SAMS; REX/SHUTTERSTOCK; PIXELATE.BIZ
Anything goes in this vintage fashion mash-up. Art deco
prints worn with cowboy boots? Yes! Vinyl separates with
’70s sportswear? Tie-dye with ’60s geometrics? Hell, yes!
Above, from top: dress, to order,
Carven. Shoes, £1,240, Gucci. Bag,
£318, The Kooples. Minidress,
£1,995, Agent Provocateur.
Earrings, £495, Peter Pilotto
69
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TRENDS
Put on
your
metal
Right: hoop earrings,
£2,300. Ear cuff, £1,180.
Both Bulgari. Necklace, £8,875,
Tiffany City Hardwear. White-gold
bracelet, £6,100, Cartier. Rose-gold
bracelet, from £7,300, Pomellato.
Poloneck, £235, Pringle of Scotland.
Below left: beaded earring, £270, Stuart
Weitzman. Fringed earrings, £620,
Givenchy. Necklace, £700, Charlotte
Chesnais, at Dover Street Market.
Poloneck, £775, Loro Piana. Below
middle: hoop earrings, from £205 a
pair, Tom Wood. Necklace, £265,
Amanda Wakeley. Poloneck, £155, John
Smedley. Below right: hoop earrings,
£600, Louis Vuitton. Necklace, £1,210,
Chloé. Poloneck, £235, Pringle of Scotland
70
SCOTT TRINDLE
This season, your best
jewellery efforts should
include a conventionchallenging clash of
bronze, gold and silver
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РЕЛИЗ ПОДГОТОВИЛА ГРУППА "What's News" VK.COM/WSNWS
From left: Radhika
wears jacket, £8,740,
Gucci. Poloneck, £13,
Uniqlo. Jeans, £165, The
Kooples. Boots, £1,100,
Sergio Rossi. Jess wears
jumpsuit, £2,465,
Halpern, at Matchesfashion.com. Earrings,
£150, Alessandra Rich.
Lili wears blazer,
£1,715. Trousers,
£1,038. Both Philipp
Plein. Top, £4,710,
Ermanno Scervino.
Shoes, £1,790.
Headband, £230.
Earrings, £1,200.
All Tom Ford
Haute notes
SCOTT TRINDLE; JASON LLOYD-EVANS;
MITCHELL SAMS; PIXELATE.BIZ
Whether shimmering sequins or
baroque boots are calling to you, the gilded
splendour of couture-like touches make
a statement like no other
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TRENDS
VERSACE
MARY KATRANTZOU
GIVENCHY
MAISON MARGIELA
ERDEM
“Modest silhouettes –
like a longer-length
sparkling skirt or a
sequined knee-high boot
– prove that you can
still show off without
showing skin”
PACO RABANNE
Left: embellished
velvet skirt,
£3,360, Erdem.
Below, from top:
earrings, £289,
Oscar de la
Renta. Sequined
boots, £1,650,
Alberta Ferretti
Sarah Harris, deputy editor
Clockwise from
above: bag, £695,
Aspinal of London.
Feathered silk skirt,
from £2,715, Prabal
Gurung. Jewelled
shoes, from £2,050,
Dolce & Gabbana
Right, from left: Radhika
wears dress, to order,
Balmain. Boots, from a
selection, Halpern x
Christian Louboutin. Lili
wears top, £1,208, Ashish,
at Matchesfashion.com.
Trousers, £2,360, Chanel.
Boots, £4,335, Saint
Laurent by Anthony
Vaccarello. Earrings,
£650, Mulberry
73
Lion Transparent Trunk - £595
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ASPINALOFLONDON.COM
WESTFIELD
HARRODS
SELFRIDGES
MARYLEBONE
BROOK ST W 1
REGENT ST
TEL: + 44 (0) 1428 648180
ST PANCRAS
COVENT GARDEN
CANARY WHARF
BLUEWATER
LEEDS
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ECKHAUS LATTA
UTURE
CHOPOVA LOW
MARINE SERRE
ECKHAUS LATTA
FRANKIE COLLECTIVE
ENA
CONNER IVES
RAVE REVIEW
RAVE REVIEW
MAISON MARGIELA CO
GERMANIER
ECKHAUS LATTA
CHOPOVA LOWENA
ECKHAUS LATTA
MARINE SERRE
NICOLAY BIRYUKOV; JASON LLOYD-EVANS; MITCHELL SAMS; NICO DE TORRES;
SHUTTERSTOCK; REX/SHUTTERSTOCK; CHARLOTTE WALES
ECTIVE
FRANKIE COLL
CONNER IVES
TRENDS
RELIGHT MY FIRE
From deadstock to deconstruction, Harriet Quick talks to the young designers
reworking our view of sustainable fashion
Y
uck or yes please? This is the question running
through the minds of a group of designers who
are trawling through warehouses, eBay, vintage
stores and into the crevices of their own studios
to truffle out deadstock fabrics and trimmings that might
otherwise end up as landfill. They go on to repurpose and
imaginatively rework the discarded and unwanted into
desirable garments. And right now, they are making a growing
swell of sustainability-savvy shoppers happy.
“Last Christmas, I trawled through Goodwill stores in New
Jersey and Connecticut, digging out old T-shirts,” relates
Conner Ives, an American designer currently in his third and
final year at Central Saint Martins. “There were some gems,
including a whole set of family-reunion tees that featured >
75
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TRENDS
Right: at Maison
Margiela Couture,
John Galliano used
offcuts from luxury
fabric houses
“We have
a huge
consumption
problem in
fashion. I was
witnessing so
much waste,”
says Ives
76
baby photos, and ‘No 1 Dad’ shirts that
I cut and spliced with Michael Phelps
tees. I love that juxtaposition – each one is unique.” Ives’
ingenuity has attracted commissions for capsule collections
from Browns (his second for the store landed in September)
and Liberty, as well as one-off orders: a deconstructed tuxedo
dress worn by Adwoa Aboah to the 2017 Met Gala was
rustled up in his live/work studio in Tottenham. His passion
for sustainability was triggered as a teenager while interning
for designers in New York. “We have a huge consumption
problem in fashion. I was witnessing so much waste in the
design studios, with 40m-bolts of fabric being thrown out.
People seemed numb. It is just so ludicrous,” he says.
Being witness to excess is proving highly motivational for
young designers. Swiss-born, CSM-trained designer Kévin
Germanier recently hauled 93 bags of plastic beads from Hong
Kong back to London and began making sparkling disco dresses
and bodysuits from the waste that was destined for landfill.
Germanier, a Louis Vuitton alum who now lives in Paris – and
counts Björk as one of his fans – gets a thrill from magicking
glamour out of trash, as does his fellow Parisian designer Marine
Serre. She rescued hundreds of silk scarves from a consignment
warehouse and made them into fluid dresses that were a
highlight of her autumn/winter ’18 collection. Streetwear is
getting in on the act, too: across the Pond in Canada, Frankie
Collective tracks down deadstock polo shirts and athletic-wear
from brands including Supreme and Polo Ralph Lauren, and
remodels them, cropping lengths and changing proportions.
For Eckhaus Latta, reliance on deadstock was a pragmatic
decision born of limited resources. Zoe Latta, who founded
the label in New York with Mike Eckhaus, likes to amplify the
feel of the weird and uncommon. “We go to deadstock suppliers
and get inspired. These warehouses are a great place to think
about materials and textures that are uninhibited by the messages
and trends a manufacturer might want to present. I’ve used
crazy upholstery fabrics, come across old grey velour originally
ordered for Juicy Couture, ’70s Hawaiian floral
prints – like nothing I had ever seen,” says
Latta. In the new collection you’ll find a
tailored suit in a pale grey reminiscent of ’90s
sartorial trends and cut from deadstock suiting
fabric found in LA. This causes its own
problems: deadstock is unpredictable. “You
don’t know whether you need 20 yards or 200
until orders are confirmed,” Latta adds. “But
discarded fabrics are now part of the brand’s
character. We’ve built in that responsibility.”
And it is a responsibility, as proven by the
recent outcry over news that in 2017 Burberry
incinerated unsold products worth £28 million. The practice
of destroying unsold luxury goods to preserve exclusivity,
brand equity and guard against counterfeit is not unusual.
The Burberry Foundation is now seeking out more ecologically
sound solutions and continues to work with Elvis & Kresse,
a company founded in 2005 that specialises in recycling leather
into wallets and bags. It estimates that over its five-year
partnership, 120 tonnes of leather offcuts will be reworked.
There is, of course, another way – as Martin Margiela proved
when he made collections out of vintage headscarves in Paris
in 1992. The designer was a pioneer, using discarded materials
including bead curtains, motorcycle helmets, leather jackets
and broken jewellery, ingeniously giving them a second life in
the Artisanal couture collection. John Galliano, now at the
helm of Maison Margiela, continues the tradition: for the
autumn 2018 couture collection he utilised offcuts from luxury
fabric houses and patchworked them using a Chinese technique
called Ge Ba, bonding fabric scraps with rice-based glue.
Bizarre juxtapositions can prove thrilling as emerging brand
Chopova Lowena proves with its fusion of Bulgarian costume
and ’80s sportswear. “Our wool skirts are made entirely from
old aprons and unused fabric which either gets donated or
we buy from auction sites. We buy Lycra/spandex from New
Jersey which is deadstock due to slight imperfections in the
fabric which we cut around,” says Sofia-born Emma Chopova.
In Sweden, the label Rave Review, which has shown two
collections in Paris, takes upcycling to its logical extreme.
The name itself was even taken from a vintage clothing label.
“Sustainability doesn’t have to define the brand or product
aesthetically,” say the founders, Josephine Bergqvist and Livia
Schück. In their hands, thick lace tablecloths turn into
butterfly-sleeve dresses, and citrus-check curtain material
into tailored wrap skirts that will give a sunny feelgood boost
to any wardrobe. Waste not, want not.
Q
SHUTTERSTOCK; JULIA CHAMPEAU; CHARLOTTE WALES; NICOLAY BIRYUKOV; REX
Clockwise from
below: Rave
Review; Marine
Serre; Chopova
Lowena; Conner
Ives; Rave Review;
Germanier
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“Studio Ghibli [a Japanese
animation film studio]
doesn’t get mentioned
enough but has amazing,
strong female characters
that are just so accessible
to younger audiences. I
religiously watched Princess
Mononoke, Nausicaä and
Howl’s Moving Castle.”
“I’ve started training
for Charlie’s Angels, so I’m
doing a lot more kick boxing.
I’ve always been very sporty,
though – I threw javelin
for Team London.”
Boxing gloves, £27,
Everlast, at Amazon
Ella wears wool/
cotton jacket with
leather detail,
£2,800. Silk blouse,
£1,800. Belted
cotton trousers,
£1,800. Leather
boots, £950.
All Louis Vuitton.
Gold wrap bracelet,
worn as choker,
£6,075, Tiffany
City Hardwear.
Photograph Jen
Carey. Styling
Alexandra Carl
ELLA
BALINSKA
“I want
to wake
up in the
morning to
do what
I love”
T
“I really like doing a
smoky eye with the
Urban Decay Naked
Smoky Eye Shadow
Palette [£39.50]. I
can do a cut crease
but I’m not sure if it’s
good enough for an
Instagram debut yet.”
hree days before her Vogue interview, 22-year-old
Ella Balinska landed the role of her lifetime: as
an as-yet-unnamed Angel in the Elizabeth Banksdirected reboot of Charlie’s Angels (set for release
in autumn 2019). Making up the trio with Kristen Stewart
and Naomi Scott, does Ella feel she’s made it? “I’ve never
really thought ‘I want to make it’, it’s been more about,
‘I want to wake up in the morning to do what I love.’” It’s
a role she was born to play, even if her catwalk-ready frame
– inherited from her mother, former Vogue model Lorraine
Pascale – had her thinking otherwise. “I’ve always wanted
to do action, but I thought that at a proud 5ft 11in, I was
too tall. I’m qualified in 12 types of stage combat, so it’s
safe to say the brief for my character was very familiar.” Q
LOUIS VUITTON
“My goal is
to be able to
inspire people.
If I can make
an ounce of
difference,
then I’ve done
my job.”
“I’m a shoe
girl and base
my whole look
around them.
I have the most
from Givenchy,
but my favourite
are biker boots
from Kurt Geiger.”
Leather boots,
£189, Carvela
78
“If I had to pick
desert island
beauty items
they would be
Diorshow Iconic
Mascara [£27]
and the Gucci
Bloom Nettare
Di Fiori eau de
parfum [£109].”
“I shop in
Selfridges’ men’s
contemporary
section, and am
totally into Virgil
Abloh’s Louis
Vuitton. I like the
way he’s created
a signature
already.”
ELLA’S PLAYLIST
• “Cola” by CamelPhat and
Elderbrook
• “Glue” by Bicep
• “Icon” by Jaden Smith
• “Uprising” by Muse
“The Maldives are
stunning. It’s just so
lovely to do nothing – but
always get that cheeky
photo for the ’gram (this
looks like a yacht but
really it’s a pedalo).”
“Jaden Smith
is one of my
style icons.
Fashion is all
about breaking
boundaries,
self-expression
and making a
decision about
who you are.
He does
androgynous
very well.”
INTERVIEW: NAOMI PIKE. HAIR: SHIORI TAKAHASHI. MAKE-UP: VASSILIS THEOTOKIS. NAILS: MICHELLE HUMPHREY. PIXELATE.BIZ;
LUCKY IF SHARP; REX/SHUTTERSTOCK; GETTY; JASON LLOYD-EVANS/MITCHELL SAMS; INSTAGRAM @ELLABALINSKA
VOGUE DARLING
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OUT OF
THE BLUE
With a nod to its past, Tiffany
has injected fresh florals into
its new Blue Book collection.
Jewellery editor: Carol Woolton.
Fashion editor: Gianluca Longo.
Photographs: Thomas Lagrange
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JEWELLERY
Opposite: gold,
platinum and
pink-and-whitediamond earrings.
Matching necklace.
Both price on request,
Tiffany. Cotton shirt,
£360, Charvet,
at Mrporter.com.
This page: tanzanite,
sapphire and diamond
wrap bracelet.
Tourmaline and
diamond ring.
Tanzanite, sapphire
and diamond ring.
All price on request,
Tiffany. Wool poloneck,
£209, Sandro.
Hair: Olivier
Schawalder. Make-up:
Constance Haond.
Nails: Typhaine
Kersual. Model:
Demy de Vries
81
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This page: titanium
peony ring set with
sapphires, price on
request, Boucheron.
Opposite, clockwise
from top left:
aluminium,
tourmaline and
diamond earrings,
price on request,
Emmanuel Tarpin.
Mother-of-pearl,
spinel, aquamarine,
sapphire and
diamond brooch,
£18,000, Feng J.
Sapphire, whiteand-yellowdiamond, and
tsavorite brooch,
price on request,
Cindy Chao.
Diamond and
sapphire ring,
price on request,
Dior Joaillerie
FORGETME-NOT
Introducing jewels that are perfect
floral specimens. By Carol Woolton.
Styling by Gianluca Longo.
Photographs by Thomas Lagrange
ONE OF THE joys of a jewel is that it can lend life to a
flower way beyond the seasons. During the 19th century,
Frédéric Boucheron reinterpreted fuchsia petals and his wife’s
favourite pansies in realistic detail. Now the maison, under
the design direction of Claire Choisne, has gone further,
creating a world of floral hyper-realism, using science to
make real flowers forever. Peony, anemone, hydrangea and
82
rose petals have all been carefully preserved, then lightly
painted with lacquer. To these delicate plants, padparadscha
sapphire and imperial topaz gemstones were set in pink-gold
pistils, while the underside of the petals were scattered with
jonquil-yellow and violet sapphires, resting on titanium stems.
This new species of Fleurs Eternelle would have sent rich
industrialist collectors of rare specimens wild in the 19th
century in a bid to fill their hothouses with the precious blooms.
And Mrs Boucheron’s pansies would still be alive today.
Meanwhile, Cindy Chao has trumped the gardener’s effort
to cultivate a blue rose. Azure titanium and gemstones with
flashes of marine from opalescent mother-of-pearl are
fashioned into cobalt-hued roses and orchids. At Dior, Victoire
de Castellane has balanced the moody sapphire at the centre
of her floral design with diamonds. Forget about being greenfingered; this autumn and winter, we say propagate blue. Q
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JEWELLERY
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PICCADILLY | MAYFAIR | SELFRIDGES | WESTFIELD LONDON
VASHI.COM
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ARTS & CULTURE
The big
DRAWS
The exhibitions worth
weekending for this autumn.
By Hayley Maitland
OCEAN COLOUR SCENES
When Captain Cook returned from his first voyage across
the Pacific, he brought back tales of a paradise on earth, where
blissful tribes lived on palm-fringed islands surrounded by
crystal lagoons. Now, 250 years later, the Royal Academy’s
new exhibition, Oceania (until December 10), pays homage
to the indigenous cultures he encountered. It features some
200 Polynesian works up to 500 years old, including handcarved Maori canoes, a navigator’s weather charm and “whaleivory” trinkets. Meanwhile, from October 20 at Tate St Ives,
Turner Prize-nominated Rosalind Nashashibi and Lucy Skaer
consider the history of the region through a feminist lens.
The duo recreated Gauguin’s journey to Tahiti for Why Are
You Angry?, their documentary focusing on the lives of
descendants of the Polynesian beauties in Gauguin’s canvases.
Watch a screening in the gallery before taking in some of the
Post-Impressionist master’s
own works – displayed
especially for the occasion.
Left: detail from Lisa Reihana’s
In Pursuit of Venus [Infected]
(2015-17), and below left, a hook
from 1870, both part of Oceania.
Right: a still from Why Are You
Angry? by Nashashibi/Skaer
LISA REIHANA/ARTPROJECTS; NASHASHIBI/SKAER; MUSEUM OF ARCHAEOLOGY AND
ANTHROPOLOGY, UNIVERSITY OF CAMBRIDGE; TIMOTHY SCHENCK AND THE TRUST
FOR GOVERNORS ISLAND; STAATSGALERIE, STUTTGART
TAKE A PEW
Edward Burne-Jones’s mythical Pre-Raphaelite works are at the heart of a major
retrospective at Tate Britain from October 24 – but his greatest masterpieces
might just be his stained-glass windows. See some of the best at these churches…
CONCRETE
EVIDENCE
ST MICHAEL & ALL
ANGELS, HERTS
Spectacularly colourful
windows with playful
renderings of John the
Baptist and Saint Peter.
BIRMINGHAM
CATHEDRAL
A Midlands native,
Burne-Jones designed and
installed the windows with
his friend William Morris.
ST JAMES’
CHURCH, CUMBRIA
The exquisite east
window here depicts
both the Crucifixion
and the Ascension.
Left: The Doom Fulfilled
(1888) by Edward
Burne-Jones
From its Sculpture Park to The Hepworth Wakefield, Yorkshire
has cemented its position as one of the UK’s best art destinations.
Now there’s another reason to visit: Rachel Whiteread’s
monumental new work in Dalby Forest – the latest in her Shy
Sculpture series that has seen her cast everything from a boathouse
on a Norwegian fjord to Cabin on Governors Island in New York
(above). For the new project, opening this month, the artist has
recreated a Nissen hut – a shelter for the wood’s original planters
– made for the Forestry Commission’s 100th anniversary. >
87
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ARTS & CULTURE
GAINSBOROUGH IN PROFILE
This is the autumn for Gainsborough devotees.
Opening on November 22, the National Portrait
Gallery’s Gainsborough’s Family Album charts the
royal portraitist’s evolution from weaver’s son to
his arrival at George III’s court, using more than
50 of his works. To get a true sense of the Royal
Academician’s life, though, it’s worth visiting his
stomping grounds outside London. Start at Early
Gainsborough at his childhood home in Suffolk
(Gainsborough’s House, from October 20), which
harnesses fresh research to depict the artist’s rural
upbringing. Then head to the Holburne in Bath,
where Gainsborough and the Theatre (until January
20) focuses on his fascination with the stage –
from the actor David Garrick to the young
debutantes who defined the 18th-century scene.
Right: Wooded Landscape with Old Peasant and
Donkeys outside a Barn, Ploughshare and Distant
Church (c1755) by Thomas Gainsborough
CELEBRITY STATUS
WOOLF HAUL
From can-can dancers at
the Moulin Rouge to the
demi-monde of Le Chat Noir,
Henri de Toulouse-Lautrec
immortalised the residents of
fin-de-siècle Montmartre in his
avant-garde lithographic prints.
With 75 works on display,
Pin-Ups: Toulouse-Lautrec and
the Art of Celebrity at the
Scottish National Gallery, until
January 20, highlights Lautrec
and his contemporaries’ roles in
the development of celebrity.
Above: Kaye Donachie’s
Our Tears for Smiles
(2018). Right: Matt
Smith’s Pink (2017)
88
Belfast’s arts scene is buzzing, and its
International Arts Festival returns on
October 16. Among the highlights?
US artist Suzanne Lacy’s politically
charged Across and In-Between, which
saw her working with communities on
both sides of the border. Take it all in,
then stroll through the city’s beautiful
Cathedral Quarter (right), home to
30-plus open-air sculptures.
Q
BELFAST BRIGHTS
GAINSBOROUGH’S HOUSE, SUDBURY, SUFFOLK;
VICTORIA & ALBERT MUSEUM, LONDON; THE
HUNTERIAN, UNIVERSITY OF GLASGOW; ALAMY;
MATT SMITH; MAUREEN PALEY; TONY TREE
Almost a century after its heyday, the Bloomsbury Group continues to
fascinate. Charleston (above), the Sussex home of Vanessa Bell and Duncan
Grant, has just launched its first dedicated exhibition space, the Wolfson
Gallery. Catch its inaugural show, Orlando at the Present Time (until
January 6), which centres on the playful take on gender in Virginia Woolf’s
landmark novel. Among the displays are photographs of Sissinghurst Castle
by Annie Leibovitz and leading contemporary artists’ responses to the book.
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Beneath the nononsense exterior
is a woman of
warmth and charm,
in possession of a
wonderful throaty
laugh. Vanessa
Redgrave wears
an embroidered
silk-cady shawl and
suit, both made to
order, by Christ’l.
Hair: Ignazio Sulas.
Make-up: Lisa
Eldridge. With
thanks to Robbie
Tomkins and
Amy Ward
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ARTS & CULTURE
PLAYING
HER PART…
At 81, actor and provocateur Vanessa
Redgrave is still making herself
heard – on stage and off. By Olivia
Marks. Photographs by Perry Ogden.
Styling by Julia Brenard
V
anessa Redgrave is unhappy. The reason?
Take your pick: the death of film criticism;
the appalling condition of our prisons;
the sorry state of “low level” news…
There’s nothing she can’t get cross about. Would we
want it any other way?
Fiery, opinionated, exasperated: this is the 81-yearold I expect to find when I arrive for tea at the
ground-floor apartment of a Chiswick mansion block
on a swelteringly hot afternoon. So at first it is a
little disconcerting to find one of Britain’s foremost
theatrical matriarchs opening her front door in “sweet
old lady” mode, wearing a knee-length dressing gown
and slippers, fawning over her small dog, Zep. Once
inside the dark, high-ceilinged rooms, however, the
cosy grandma atmosphere soon evaporates. Her
much-documented eyes, cornflower blue and
unnervingly direct, are as piercing as ever.
Ostensibly, we are here to discuss her turn in this
year’s critically heralded smash hit The Inheritance – a
two-part, seven-hour Aids opus that manages to be
both devastating and hilarious, and which opened at
the Young Vic earlier this year before transferring to
the West End – although anyone with a passing
knowledge of Redgrave’s CV won’t be surprised to
learn that her conversation goes heavily off-piste. Today,
a new distraction comes in the form of Zep. “My
sweetheart. I don’t want to disturb our interview, but
I can’t resist you,” she says in her inimitable RP, made
husky from years of smoking, while throwing a tiny
ball through the kitchen and into the courtyard.
In the 1960s, she was the archetypal sexpot in films
such as Antonioni’s Blow-Up, and her Rosalind in As
You Like It at Stratford-upon-Avon, aged 24, still turns
male critics of a certain age into gibbering, quivering
wrecks. No actress has bettered her Mary, Queen of
Scots, and she was greatly admired by Tennessee >
“Dynasties
are to do with
ruling. We
don’t rule, so
it’s absurd”
92
Theatre fans are more familiar with the
Redgrave family tree than their own: the eldest
daughter of actors Michael Redgrave and
Rachel Kempson, Vanessa’s siblings, Corin and
Lynn, were also actors, and her daughters,
Natasha and Joely, followed in her footsteps,
as did Corin’s daughter Jemma. Of the next
generation, only 26-year-old Daisy Bevan
(Vanessa’s granddaughter) appears to be
keeping the tradition alive. Just don’t use the
D-word. “We’re not a dynasty,” she says sharply.
“Every professional family has a few that carry
on and some branch out a different way.
Dynasties are to do with ruling. We don’t rule,
so it’s absurd. I get very severe,” she says, putting
on her most frightening voice. “I begin to glint
and look over my shoulder and see who else is
coming along being stupid.” And with that,
she throws her head back and cackles.
Three years after a near-fatal heart attack
(which finally saw off the fags), age has neither
softened her outrage nor altered her agenda.
Last year she made her directorial debut with
Sea Sorrow, a documentary about the global
refugee crisis. She has just returned from
Kosovo where she hosted a screening of the
film. It’s quite something to become a first-time
director in your eighties, I venture. “Not bad,
is it?” she agrees, her lips curling into a smile.
Redgrave might be too spiky, too stern to
achieve fluffy National Treasure status like
her friend Judi Dench (“we were in the same
year at Central. Her Juliet was phenomenal”),
but it becomes clear that beneath the nononsense exterior is a woman of warmth and
charm, in possession of a wonderful throaty
Redgrave, photographed
laugh. For all the (many) people she holds in
in the courtyard garden
contempt, there are an equal number that
of her London home,
wears a Dior jacket and
she heaps with praise. Matthew Lopez, the
blouse with bespoke
40-year-old writer of The Inheritance, is one.
trousers by Christ’l
“This play reveals Lopez as a sort of
Shakespeare in modern terms,” beams
Williams and Arthur Miller, but she has always been Redgrave. “Not just once, not just twice, but every time I
controversial. John Osborne apparently used to call her Big listen on the Tannoy, every time I study my lines, I’m
Van, and for a time she was the country’s most famous socialist astonished with the depth of the perspective that he has.”
when she joined the Workers Revolutionary Party in the 1970s.
Critics agree. The Telegraph’s Dominic Cavendish went as
Acting and campaigning have been constant, mostly far as to call it “the most important American play of the
uncomfortable, bedfellows ever since.
century so far”. It is Angels in America meets Howards End
Having changed into a black V-neck and trousers, Redgrave – owing to Lopez’s loose update of EM Forster’s novel to
sits at the table in a kitchen that lies somewhere on the scale gay, present-day New York – an epic tale of the Aids epidemic
between Hampstead Bazaar and problem hoarder. Mismatched and its legacy, of love and ambition, art and politics.
crockery is piled up on a dresser, open bottles of red wine sit
There are clever, pleasing references to Howards End
clustered on the countertop, while an enormous potted vine throughout, not least with the casting of Redgrave (whose
has crept through the door and outside. The table is covered performance as Ruth Wilcox in the beloved 1992 Merchant
in books (Gina Miller’s Rise is on the go) and the day’s papers, Ivory film of the book earned her an Oscar nomination for
and taped to a cupboard door I spot a recipe for “Tasha’s Best Supporting Actress). Appearing at the end of part two,
margaritas” – a poignant reminder of Redgrave’s late daughter, Redgrave plays a mother who previously refused to accept
Natasha Richardson, who died in a skiing accident in 2009. her son’s sexuality, but now cares for those who are dying of
PERRY OGDEN; GETTY; REX/SHUTTERSTOCK
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ARTS & CULTURE
Aids-related illnesses in a house not dissimilar to Howards
End. She even delivers a line about pig’s teeth in a tree, as
she did as Ruth Wilcox in the film, although Redgrave is
quick to point out that in the play it is a wych elm not a
cherry. Nothing gets past her.
Unlike Lopez, who grew up during the Aids epidemic of
the 1980s and 1990s, it affected Redgrave personally – her
first husband, the director Tony Richardson, died from an
Aids-related illness in 1991. Echoing the words of Eric Glass
(the play’s protagonist), I tell Redgrave I can’t imagine what
that was like. “No, you can’t,” she cuts back. “I find it hard
to. I was late in learning about it. I learnt about it only when
my husband got it. I didn’t know anything about it at all, so
quiet had the media kept was my conclusion.
“My husband made every effort to live as long as he could,”
she continues, quieter now, speaking more to herself than to
me. “Wouldn’t most people? He just tried to live
for the day when something would be discovered,
and he only missed it by about a year and a half,
which is a torment. A torment. He was a very
exceptional person.” Though they divorced in
1967, “I cared a bundle about him,” she says.
“We were going to do a production of The Cherry
Orchard.” She goes silent for a long moment.
“He was preparing for that as he was dying.”
Richardson, of course, was father to Natasha
and Joely. And in 1969 she had a son, Carlo,
with the Italian actor Franco Nero – the man
she now calls her husband. She and Nero fell
in love while filming Camelot in 1967, split,
reunited, and eventually wed in 2006, when
Vanessa was 69. The couple mostly lives apart.
“I like being on my own. Because I love him,”
she says, laughing. “Some people don’t like it, but it suits our
particular circumstances.”
Talk of family litters our interview (Carlo, now a film
producer, calls halfway through our conversation to make
arrangements for that evening), and Redgrave explains how
Zep was a gift from Joely and Daisy after her heart attack:
“He made me happy again.” She talks with unconcealed pride
of her grandchildren and nephews and nieces, one of whom
is a pilot, another a Rudolf Steiner teacher.
Just over a year after Natasha’s death, Corin and Lynn, to
whom she was very close, died within a month of one another.
Did experiencing such loss in such a short space of time make
her hold her family even closer? She looks at me dead on:
“Yes. Absolutely. Absolutely. I think I’m incredibly lucky to
be part of such a family. Incredibly lucky.”
Redgrave still works ferociously – our interview draws to
a close as a car arrives to take her to a screening of an
upcoming film with Timothy Spall, Mrs Lowry & Son; she
has three others in post-production; not to mention being
on stage every night in The Inheritance. Before she leaves, I
ask, against my better judgement, if she would have any
advice for her younger self? “Well that’s silly isn’t it,” she
rasps, eyes flashing once again with delighted exasperation.
“That’s a question for a rainy day.”
Q
The Inheritance is at the Noël Coward Theatre until January 19
VANESSA REDGRAVE, HER SON
CARLO NERO AND MICHELLE
DOCKERY AT WIMBLEDON IN JULY
IN 1971’S MARY,
QUEEN OF SCOTS
AT AN EQUITY
MEETING IN 1971
LEFT: LYNN AND
VANESSA REDGRAVE
IN WHATEVER HAPPENED
TO BABY JANE (1991)
THE DEVILS (1971)
VANESSA WITH
DAUGHTERS
JOELY (ON LEFT)
AND NATASHA
MERYL STREEP AND
VANESSA IN 2007’S EVENING
RIGHT: WITH FRANCO
NERO IN 1970. BELOW:
PERFORMING WITH JOELY
IN LADY WINDERMERE’S FAN
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“I’d wear this Chanel
bracelet with a simple white
T-shirt. The pink makes it
less ladylike and more fun.”
Bracelet, £760, Chanel
LIVING
Slippers, £265, Charvet
“An unravelling houndstooth
earring sounds too weird to be
true. But Loewe nails it.”
Earrings, £195, Loewe
Scarf, £200, Aries Arise
“I wouldn’t wear these
immaculate Charvet slippers at
home. I’d save them for dinner,
styled with tailored trousers.”
“This brown
OPI nail varnish
is my gothic-lite
alternative to
black nails for
winter.”
Nail
Lacquer in
Shh...It’s
Top Secret,
£13.50, OPI
LIFE & STYLE
This month, Julia Sarr-Jamois’s
cultural curation includes the best
pieces to cosy up in
“These
beautiful
pyjamas
deserve a
daylight
outing.”
Pyjamas, £695, Charvet
DAVID BAILEY; RONALD TRAEGER; WENDY TEE;
GETTY; SHUTTERSTOCK; PIXELATE.BIZ
“Aries Arise is one of my favourite
brands and this Barbaria scarf sums
up why. Check out its online store.”
“I’m thrilled that Christian
Dior has reintroduced the
saddle bag. Originally
created by John Galliano,
Maria Grazia Chiuri has
reinterpreted it in different
patchworks and frills.”
“Proof that animal print really does
work on everything. Even teacups.”
Teacup and saucer, £93,
Ralph Lauren Home
love all things puffer, a big
statement when you convert it into
a glove. But I love these Aristide
Bag, £4,200, Dior
“What’s better than kittenheeled Christopher Kane shoes?
Kitten-heeled Christopher Kane
shoes covered in rhinestones.”
Shoes, £775, Christopher Kane
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ALL DAY. ALL NIGHT.
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LIVING
T
hink of the working lunch
eaten al desko and the last
things to spring to mind are
dairy-free cacao truffles and
a half kilo of sustainable oscietra. When
one thinks “takeout deli” one does not
picture five tonnes of Dalmatia marble
and stainless steel. But all that is about
to change. Society darling Juan Santa
Cruz, owner of Isabel in Mayfair and
Notting Hill’s Casa Cruz, has entered
the takeaway game.
“I’ve been thinking about this since I
worked on Wall Street in the 1990s,”
he says of his new concept; a posh Pret,
if you will, though he’d rather you didn’t.
Nathalie, named after a stylish friend,
opens on Mayfair’s Hanover Square later
this month. From 6.30am to 11.30pm
it will serve 50 different items, in takeout
boxes with six little slots to keep your
choices separate. Like bento, but
seasonal and largely Mediterranean. The
deli will sell “nice salt, foie gras, caviar,
our own-label Malbec, half bottles of
good champagne”, as well as the
covetable tableware Santa Cruz designed
for his restaurants.
The upscale takeaway trend has been
a constantly evolving one. Remember
when Itsu’s sashimi was heaven sent,
before Leon took quinoa to the masses?
Now the proper boutique takeout is on
the rise. Think of Hemsley & Hemsley
at Selfridges or the three Farm Girl
outlets, with their golden lattes and
Kate Spicer on the London deli leading a lunch
charcoal cappuccinos. Soon there will
also be a second Farmer J, a farm-to-fork
revolution. Photograph by Jenny van Sommers
concept providing City workers with a
healthy lunch, and, this month, fashion caterers Tart London Poppy Delevingne, a regular at both Isabel and Casa Cruz.
will open its first place in Victoria. But none will match “His places feel a little naughty. His attention to detail is
Nathalie for sleekness and choice.
extraordinary – that’s why you keep going back,” she adds.
Well-heeled workers have been under-served on the lunch “That and Juan himself. He’s irresistible. The glint in his
front, believes Santa Cruz, who, at 47, has a whiff of the old eye, the hint of cheekiness.”
jet-set playboy about him. Chilean born, he grew up in
There’s still some of that naughtiness available at Nathalie.
Uruguay and finished his schooling in Switzerland and “You had a hard weekend, you know what I mean, lunch
Boston. After working in finance in New York and Buenos requires a lot of blueberries or a green diet, or maybe it requires
Aires, he knew he had to find an occupation that fired all chocolate gateau with dulce de leche,” smiles Santa Cruz.
his passions: design, people, food, wine… and, of course,
Prices for a simple lunch start at the splurge-in-Whole
fun. His first Buenos Aires restaurant opened in 2004, and Foods mark (about £15), but are some way below his restaurants,
London followed in 2015.
meaning his ethos can, Santa Cruz hopes, now be enjoyed by
He’s had a phenomenal rise since arriving in the UK, and the masses. There are plans for Nathalies in more major cities.
while the critics have never understood his appeal, society “Why not?” he says, with that irresistible twinkle in his eye,
does. “I die for Juan’s Argentinian blackened chicken,” says “Let’s bring this to as many people as we can.”
Q
SET DESIGN: GEMMA TICKLE.
DIGITAL ARTWORK: HEMPSTEAD MAY
IN GOOD TASTE
“His attention
to detail is
extraordinary
– that’s why
you keep
going back”
97
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condenastjohansens.com
Monaci delle Terre Nere, Sicily, Italy
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LIVING
Graham Steele (left) and Ulysses de Santi sit upon
Jorge Zalszupin 1960s Cubo chairs. A 1950s tea trolley,
and artworks, including a Rodrigo Cass painting and
a Mona Hatoum sculpture, surround them
Art house
What happens when a gallerist marries
a furniture dealer? Pure design nirvana, says
Talib Choudhry. Photographs by Kate Martin
PHOTOGRAPHS TAKEN FROM THE FORTHCOMING BOOK I MEAN
THE DREAM BY ALEX EAGLE, KATE MARTIN AND TISH WRIGLEY
T
Above: a Joaquim Tenreiro bench
and a Kenzi Shiokava sculpture
(on landing). Right: Jacqueline
Terpins vase and 1950s chair by
Martin Eisler and Carlo Hauner
for Forma. Below: works by
Svenja Deininger, Nicola Martini,
Pae White and Lucas Arruda
displayed near a Zalszupin table
he juxtapositions are what I really love,” says
gallerist Graham Steele, of the chic LA home he
shares with his husband, furniture dealer Ulysses
de Santi. “It’s a happy marriage of different styles.
We are very open to each other’s tastes in our respective
fields. We’ve paired furniture in the same way that you would
an art collection and that’s exciting to me.”
The rooms of the West Hollywood townhouse are
comfortably proportioned, and the decoration walks the line
between drama and restraint, with museum-quality furniture
and a contemporary art collection that would make even the
most glacial gallerist swoon. De Santi, who was born near
Sao Paulo, sources vintage Brazilian furniture for clients and
stages pop-ups (following sell-out exhibitions in LA and Hong
Kong, he has another in LA now), and some of the finest
examples have been reserved for his own home, including an
undulating Oscar Niemeyer chaise in the bedroom that is
truly seductive. “It’s all about the curves,” says de Santi,
describing the masterpiece. “When it came to furniture
making,” he continues, “European immigrants found that the
beautiful indigenous wood could do things other woods can’t;
you get amazing sinuous shapes, which reflect the sexiness of
Brazil. There’s an openness to the furniture. It’s inviting.”
There is a bench in the foyer by Joaquim Tenreiro (who is
affectionately dubbed “the father of Brazilian modernism”) >
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Above: two sculptures by
the couple’s friend Raqib
Shaw. Right: a Louise
Bourgeois work sits on
the 1960s Gio Ponti-style
desk, with a Sarah Morris
work above and a
1950s Singer seamstress
chair alongside it
Above: beneath a picture by Anselm Kiefer, Sergio
Rodrigues’ Grasselli shelf holds works by Louise
Bourgeois and Paloma Bosquê. Right: beyond the
1960s Veranda armchair by Zalszupin is a painting
by Carroll Dunham (father of Lena Dunham)
Below: a large and vivid
painting by Luiz Zerbini sits
behind a 1970s Sergio
Rodrigues Picnic table.
Right: Steele stands next to
a Larry Bell cube (1965)
“It’s a mix
of bright
Californian
modernism
and classic
Brazilian
design”
102
and a Sergio Rodrigues Picnic table in the informal dining
area on the first floor – which also features bold works of art
by Larry Bell and Roy Lichtenstein. Splashes of teal, inky blue
and rich reds from the canvases are sparingly echoed throughout
the house, a unifying motif in these carefully curated interiors.
“We both walked into the house and immediately felt that
the bones were right, and thought, ‘Wow, it’s like a gallery,’
which was perfect for the look we wanted to achieve,” says
Steele. “It was important for us as a couple to bow to Ulysses’
taste in furniture. It’s been a journey of discovery on my part.”
Steele worked in London for 12 years, first as an art
specialist at Sotheby’s, before becoming a director at White
Cube, where he nurtured the careers of emerging artists and
art-world icons such as Mona Hatoum, Larry Bell and
Damien Hirst. He was in Sao Paulo for the opening of a solo
show by Bell in 2014 when he met the darkly handsome
Brazilian de Santi, at that time an actor, and began a longdistance romance. When Steele became senior director of
Hauser & Wirth in LA two years later,
de Santi moved to be with him – and
decided to turn his passion for Brazilian
design into a business while decorating
their new home.
De Santi decided to stain the floors
dark “to make them disappear, because
there’s so much wood in the collection”,
but rather than receding, the liquoriceblack boards provide a dramatic
counterpoint to the furniture. The duo
made more drastic changes, too,
demolishing several internal walls to
make the ground floor feel lighter, and
removing a “giant, unsightly” barbecue
area in the garden. A run of large glass doors was added to
the living room to create a connection with the outdoors and
make the most of the year-round sunshine. “We wanted to
be true to the spirit of the house and have an indoor/outdoor
lifestyle,” says de Santi. “It’s a mix of bright Californian
modernism and classic Brazilian design, but there are also
pieces by contemporary artists and designers in the house.”
He continues, “I didn’t want to live in a time capsule that
looked like an episode of Brazilian Mad Men.”
And yet, in some ways, they do. Those glamorous martinisoaked parties that seduced the mournful Don Draper in
LA would look right at home in the duo’s backyard,
and they enjoy entertaining a beautiful, moneyed crowd.
As with their decor, when it comes to the guest list, it’s
all in the mix. “We entertain a lot – a combination of friends,
clients, artists and people from the entertainment industry,”
says Steele. “So there’ll be a celebrity sat next to an
old school friend who’s a lawyer.”
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LIVING
ULYSSESDESANTI.COM. KATE MARTIN
Above: de Santi in
one of two 1950s
Reversível chairs
by Martin Eisler
and Carlo Hauner
for Forma. Left:
a Harland Miller,
and acrylic initials
in the bathroom.
Below: the
Oscar Niemeyer
Rio chaise
Friendships with artists have
also blossomed, leading to
acquisitions. “It’s the ultimate
perk of the job,” says Steele.
A pair of paintings by Raqib
Shaw entitled Love Monkeys,
which hang in the master
bedroom, were a gift from the
artist to commemorate their
marriage earlier this year. The
dazzlingly eccentric Shaw also
threw them a second wedding
reception at his London studio; decorated with cascades of
dried flowers, Kashmiri cabinets and flickering candelabra,
it resembled one of his paintings brought to life. “He’s
incredibly generous and the most special soul,” adds Steele.
“You can’t help but fall in love with him. It was such a fantastic,
over-the-top celebration. Sarah Morris did our wedding video
for us. We used one of her paintings on the invitation and
as the inspiration for our cake, too.”
There is one major bone of contention in this happy
marriage, however: the problem of the minimalist versus the
maximalist. “If it was put to Graham, every single surface
would be covered in objects,” explains de Santi. “He puts
three things out and I put two of them away when he goes
on a business trip.” Steele agrees, admitting, “Ulysses has
beautiful, minimalist taste, so everything looks seamless when
you come into the house, but sometimes we have stand-up
fights; I’m constantly accumulating books and objects and
they need a home.”
Steele’s love of collecting was shaped by childhood memories
of his grandparents’ home in the 1970s: “They were collectors
who travelled all over the world – China, Russia, Japan, India
– because they worked in textiles. Everything I looked at or
touched as a child had a story behind it.”
Influences from both of their backgrounds are apparent,
including batik fabrics and 1930s Czech glassware collected
by Steele’s grandmother, and Catholic religious iconography
from South America. It’s this variety and the tension between
sparsity and stuff that makes the interior so intriguing.
The items on display are likely to keep changing; Steele is
unfazed by de Santi’s aversion to clutter and intends to keep
growing his collections. “We just need bigger houses,” he
quips. “We collect furniture in the same way that we do art
– not necessarily with somewhere in mind – so lots of pieces
go into storage. But there are certain things that you just
have to have, like the Oscar Niemeyer chaise.”
Although the house is full of such precious pieces,
the homeowners are refreshingly unprecious about them.
“It’s not one of those homes where we don’t serve red wine,”
Steele reveals. “Everything is touchable. My brother brings
his kids over all the time – if something gets scratched,
it’s not the end of the world. That’s the price you pay for
living with beautiful things.”
Q
Above: a collection of
erotic art – including
works by Cary Kwok,
Tom of Finland, Wolfgang
Tillmans, Daniel
Albuquerque and Andy
Warhol – above a Jader
Almeida sofa. Left: The
Love Monkeys by Raqib
Shaw hang over the bed
– they were given as
a wedding present;
next to it are works by
Takesada Matsutani
(right) and Geraldo de
Barros. The Petala coffee
table is by Zalszupin
103
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LIVING
HIGH ART
There’s no shortage
of world-class art
in the Alps. Plan your
next ski break around
the following:
THE WELLNESS
RETREAT
Perched high above Lake Lucerne,
Bürgenstock (above) has played host
to the great and good since 1873.
Audrey Hepburn was married at the
Swiss retreat in 1954, while Sophia
Loren was resident for years. Last
season, it relaunched after a £440m
refurb. Catch a vintage funicular up
to a lavish suite before heading to
one of three on-site spas. Treatments
include hot stone massages with
Alpine rocks and saline baths with
panoramic lake views.
NOMAD
ST MORITZ
Previously held at Karl
Lagerfeld’s former
home in Monaco,
Nomad’s travelling
showcase – celebrating
contemporary design
– takes up residence
at a 16th-century
Alpine mansion near
St Moritz in February.
Nomad-circle.com
THE APRÈS-SKI
HOTSPOT
The best Alpine destinations this
winter offer far more than just fresh
powder, says Hayley Maitland
THE JET-SET FAVOURITE
This winter, swap Courchevel for Megève, the medieval French
village dubbed the ‘Aspen of France’ by its devoted fans.
Launched with the Rothschilds last year, the Four Seasons
(below), on the Mont d’Arbois slopes, is a masterclass in Alpine
luxury. The classic timber-and-stone property has a wine cellar
of more than 10,000 bottles, helicopters for transfers to remote
slopes, and the Baroness de Rothschild’s art collection. Best
of all? Traditional horse-drawn carriages ferry guests to the
lifts, which have recently undergone major renovation.
Opening in January
on an ancient pilgrim
route to Santiago de
Compostela, Muzeum
Susch in Engadin,
Switzerland, will display
works by giants of
contemporary art, such
as Yayoi Kusama and
Olafur Eliasson.
Muzeumsusch.ch
THE GASTRO
DESTINATION
The Italian Dolomites boast limestone peaks, quaint wooden chalets
and more Michelin stars than any
other area of the country. Base
yourself at San Cassiano’s Hotel
Rosa Alpina, a favourite of George
Clooney. Its restaurant St Hubertus
– which works exclusively with local
mountain ingredients – was recently
awarded a third star for its exquisite
Austrian-influenced dishes (above).
104
MUZEUM SUSCH
TARASP CASTLE
Make a pilgrimage to
Tarasp Castle, an
11th-century Swiss
fortress that’s just been
converted into a gallery
by artist Not Vital.
Currently on display?
Art by Alighiero Boetti
and Rirkrit Tiravanija.
Schloss-tarasp.ch
EUGENE VERNIER; DAVID GILL; STEFANO GRAZIANI/MUZEUM SUSCH;
DANIEL TOCHTERLE; RICHARD WAITE; GETTY
IN PEAK CONDITION
The Experimental Group has a
reputation for creating delightful
boltholes around the world. This
year, it launches its first ski chalet
in Verbier, featuring 39 rooms with
traditional wood panelling and
Viennese textiles. Start your
après-ski at the on-site cocktail
bar before heading to legendary
nightclub The Farm, which the
group has also taken over.
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ROSEMARY
FIGHTS
MY CORNER
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VIEWPOINT
Below: Malala
attends her
matriculation
ceremony
BACK TO
SCHOOL
As Malala Yousafzai
begins her second
year at university, she
reflects on her life
at Oxford and why
every girl deserves
the same chance
LUISA DORR; REX/SHUTTERSTOCK
W
ith my subfusc academic
dress at the ready, prereading completed and
new walking boots
waiting in my wardrobe, I started my
first week at Oxford’s Lady Margaret
Hall in October of last year. University
life is a big change for any student and
I was no exception. None of the food
in the dining hall could compare with
my mum’s chicken and rice, and in the
beginning I missed my parents, and
sometimes even my little brothers, too.
They often complain that I don’t miss
them as much as they miss me – which
is probably true. But that is because life
at Oxford is busy.
I had long lists of books to read and
many essays to write to keep up with
my Philosophy, Politics and Economics
course. Along with studies, you also
want to socialise – to hear speakers, go
to balls, cheer at sporting events. The
hardest part for me is managing my
time, as, on top of my studies and
balancing work with Malala Fund, I
want to take advantage of everything
university has to offer. I joined the
cricket club, Oxford Union and the
Oxford Pakistan Society. I attended
lectures and film screenings and
became a tour guide to encourage
younger students, especially those from
under-represented groups, to apply to
Lady Margaret Hall. I made wonderful
new friends, and I had too many
overscheduled days.
Last year, I would find myself
running between classes, study groups,
cricket matches and meetings with
extracurricular groups. I would go to a
friend’s room or they would come to
mine to chat after dinner; when I would
look at the clock again, it would be three
in the morning! A few – well, many >
A few – well,
many times
– I started
an essay at
11pm the
night before
it was due
109
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VIEWPOINT
The hardest
thing is to
see a girl
nearly my
age unable
to choose her
own future
110
Actively seeking change: Malala
in Salvador to meet with her Brazilian
counterparts, above; and visiting a refugee
camp in Nigeria, above right, and right
Left: the activist (third from left)
in Pakistan earlier this year with her
brother, mother and father. This was
Malala’s first visit home since she
was shot by the Taliban in 2012
A few years ago, I met Zaynab Abdi,
21, from Yemen. She told me how she
fled wars in three countries before she
was 17 years old. Today Zaynab is a
refugee, living in America and studying
international relations at a women’s
college. She works three jobs to pay for
her tuition, gets top marks, serves on
the student council and captains a
soccer team. She wants to become a
human-rights lawyer and return home
to help her country.
Like me, Andrea and Zaynab are
excited to go back to school. They
understand that education can change
their life trajectory and make it easier
for the next generation of girls from
their communities to do the same. It
should be obvious that 130 million outof-school girls are not just a problem
for these young women individually but
for our whole world. When girls have
access to 12 years of education, primary
and secondary, they reduce the risk
of violent conflict, improve public
health, slow the effects of climate
change and grow economies.
In July, the World Bank released
research showing that we could add
between $15 and $30 trillion to the
At the UN headquarters
in New York last year
global economy if every girl went to
school. On average, girls who graduate
from secondary school make twice as
much money as girls who are left out.
As technological advances change the
nature of work and our global economy,
young women without an education will
fall even further behind. Digitalisation,
automation, robotics and artificial
intelligence are transforming the way
we live, learn and earn. Without an
adequate start in life, millions of girls
won’t have the skills they need to
succeed in today’s labour market. They
face a lifetime of low-paid low-status
work, poverty and insecurity. Their
untapped potential is a loss for all of us.
Whether you’re a feminist or an
economist – or just a person who wants
to live in a better world – you should
want to see all girls in school. Listen to
the stories of girls such as Andrea and
Zaynab and share them with your
friends and family. Speak out against
injustice when you see it. Vote for leaders
who believe in equality and commit to
investing more in education.
I am going back to university this
month. As I begin my second year, my
plan is to find a better balance between
college work and social life. I want to
prioritise the activities that interest me
the most and get a better idea of what I
want my life to look like post-graduation.
I don’t know yet what career path I will
choose – but I know I’ll keep advocating
for girls and women. If one girl with an
education can change the world, just
imagine what 130 million can do. Q
LUISA DORR FOR MALALA FUND; BESTIMAGE/VANTAGE; CAMERA PRESS/
MARCELO CORREIA; GETTY; REX/SHUTTERSTOCK
Speaking in
Rio in 2014
times – I started an essay at 11pm the
night before it was due. I overwhelmed
myself with the possibilities of
university life. And I’m grateful for
that. I know how lucky I am to have
access to an incredible education,
lectures, art, sport and new perspectives.
At 11 years old, I woke up one
morning and could not go to school
because the Taliban had banned girls’
education in Swat, the region of Pakistan
where I was born. I am so pleased that
I spoke out and for my years of
campaigning that have followed. Now
21, I am able to study at a prestigious
university – but I want to live in a world
where every girl is able to weigh her
future career options in the way I hope
to when I graduate.
Today, there are more than 130
million girls who are out of school
around the world. Many are forced to
marry as young as 11 or 12 years old,
so instead of learning, they are cooking,
cleaning and raising children of their
own. In many places, poverty forces
girls to go to work so they can support
their families. Too often in wars and
conflicts, girls must flee their homes
and their schools. They have no choice.
Most of them never go back to the
classroom. Some girls brave long walks,
risking street harassment and sexual
violence, just to get to their school.
Some girls do not have access to
working restrooms, and must choose
between their dignity or education.
Some girls have no schools at all. I have
visited refugee camps, war zones, favelas
and slums. The hardest thing is to see
a girl nearly my age, with all the dreams
and aspirations that I have, stuck in a
situation she didn’t create and unable
to choose her own future.
Everywhere you go today, you see
feminist T-shirts and hashtags – “The
future is female”, “Girl power”, “Who
runs the world?” – but if we really
believe this, we need to support girls
on the front lines of this fight. This
summer I travelled to Brazil to meet
with indigenous girls who face some
of the worst marginalisation and
violence in their country because their
families are poor, their skin is “too dark”
and they’re female. One of the girls I
met, Andrea Bak, is 17 years old. She
told me how excited she was to study
chemistry in school this year. She wants
to be a dentist, lift her family out of
poverty and provide affordable
healthcare to her community.
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Gemma at the
Million Women Rise
march in London,
March 2018
All in black for the Golden Globes: above, actresses
including Susan Sarandon, Emma Watson and Michelle
Williams join activists Ai-jen Poo, Marai Larasi and
Tarana Burke at an after-party. Below: Reese Witherspoon,
Eva Longoria, Salma Hayek and Ashley Judd
made, but can you please not wear it?” I spoke to
actresses, actors, their guests, crew members and
basically anyone who was nominated. It felt like
I was doorstepping the whole of Hollywood. There
was one particular actress of a certain generation
who, when I got in touch, emailed back straightaway
with three words: “Call me now.” “Why do we
have to wear black? It’s so dour,” she said to me
when I had summoned the courage to call. But I
managed to convince her – and everyone else – why
it was so important. On the night of the Baftas,
I looked around and it had worked. Despite the
fact we were all in black, the people, the atmosphere
– it was all so positive and unifying.
A year ago, I wouldn’t have had the courage to
lead the Bafta red-carpet movement. I would have
been too nervous of being seen as a pain in the bum.
A year on from the Weinstein scandal, But in the 12 months since the allegations of rape
sexual harassment against Harvey Weinstein
actress Gemma Arterton reflects on what has and
surfaced in the press – sending shockwaves through
changed for women – and what’s still to come the film industry and far beyond – much has
happened to give women the confidence to finally
speak out (and be pains in some people’s bums).
t the very beginning of this year, I agreed to host
It was October when The New York Times published the
a previously unthinkable meeting in my London story and I remember it clearly – the volume and details of
flat for some 40 actresses and women of film. We the allegations (which Weinstein was quick to deny) were
were discussing which one of us would be able to so incredibly shocking. Meanwhile, all anyone could speak
convince everyone at the upcoming Baftas to wear black, in about was what we could do to change, to support, to prevent
solidarity with the Time’s Up movement that had recently further harassment in the industry. It was like a giant,
emerged in America. I’ll never forget looking across my living collective light had suddenly flicked on and everybody felt
room and seeing my sofa packed tight with famous women galvanised to do something.
I would normally only ever utter hello to at fancy dos. Then
And change is certainly afoot. Time’s Up – the movement
Felicity Jones had the idea that I should lead it. Why not? against sexual harassment that was founded by Hollywood
I thought. The socialist in me had never been happier.
actresses in the wake of the Weinstein story – has become a
I found it exhilarating doing something proactive: picking global phenomenon. The first meeting was held in America
up the phone and saying to women (even those I was nervous and attended by women from all sectors of the film industry
to speak to): “I know you’ve had that amazing red dress already – some of whom were dealing with abuse, some of whom
A
114
GETTY; THOMAS NICHOLSON/LNP; REBEL PARK PRODUCTIONS
THE
TIME’S
NOW
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VIEWPOINT
Left: actress Natalie
Portman, wearing a Time’s
Up T-shirt, at a parade
honouring Martin Luther
King Jr. Right: a Time’s Up
rally in London in January.
Below: Gemma Arterton
and Catherine Tate star in
Leading Lady Parts, a short
film written and directed
by Jessica Swale
Left: Emma Watson at the
Vanity Fair Oscar party in
March – a fake Time’s Up
tattoo on her arm. Below,
from top: Margot Robbie,
Angelina Jolie, Lupita
Nyong’o, Jennifer Lawrence
and Gemma Arterton at
this year’s Baftas
just needed to talk and get things off their chest. Subsequently,
the Legal Defense Fund was established, which provides
help to all women who have experienced sexual harassment
at work. It was Emma Watson who saw that we needed
Time’s Up in the UK, and she held the first meeting.
It started small but has grown bigger and bigger, and
we still hold fortnightly meetings. Meanwhile, the
Me Too campaign has exploded. It began life as a
hashtag, used by women beyond the world of film,
to share the ways their lives and careers had been
affected by men abusing their positions of power,
but has now forced people everywhere to scrutinise
their own behaviour.
Soon, the more nuanced question of what
constitutes harassment became a talking point. In
the papers, on television, on the radio… everywhere
you turned the subject was being debated. On film
sets, I have witnessed an instantaneous change in
behaviour, as everyone has started asking themselves
what’s acceptable at work.
From a young age, I’ve always known what makes
me feel uncomfortable. When I was 15, a boy pinched
my bum at an under-18s disco and I turned around
and decked him one (perhaps a little harsh on my part
but, well, he should have asked). There have, however,
certainly been times in my professional life when
I’ve felt cajoled into doing something or wanted to
reject something but didn’t feel I could. Growing
up, I never in a million years thought I’d work in
the film industry, and when it happened I was very
young – and very grateful.
In any job, be it acting or nursing or engineering,
if you’re young and desperate for work and you’ve
got a student loan and it’s expensive to live, you’re
less likely to challenge someone if they treat you
in a way that’s not OK. In the entertainment
industry, we’re used to talking out loud. It’s our
job to be open: we use our emotions and our own
experience to tell stories. But not everyone can
do that. In a year’s time I hope every business has
structures in place to report harassment. It seems so simple,
writing that down, but it’s the changing of mindsets that’s
the hard part. In the meantime, we need to find a way to
give people the confidence to speak up and, if they see
something happening that isn’t right, to call it out.
I believe a culture of competition had been created
for women in the film industry. Why? Because there
aren’t as many parts for us – whether that’s behind the camera
or in front of it. It’s meant that, in the past, we haven’t spoken
out because our jobs felt on the line, we felt easily replaceable
and vulnerable. For us to all suddenly be together at a Time’s
Up meeting, drinking tea and setting the entertainment
industry to rights, has been, for me, a very powerful thing.
At last we’ve been able to cut through the competitive
culture that’s been forced upon us and say, “Look what
we can do when we are inclusive and work together.”
For instance, at one meeting, my friend, the writer
and director Jessica Swale, decided she wanted to do
something practical. She’s a wonderful wit, and so she
wrote a satirical piece lambasting the casting process.
I put to use the amazing address book I had
accumulated after calling everyone about the Baftas,
and just three weeks later, we had made Leading
Lady Parts – a short film starring (among others)
Gemma Chan, Felicity Jones, Wunmi Mosaku,
Florence Pugh, Emilia Clarke and Catherine
Tate. These women are no longer my rivals
– they’re friends, allies and collaborators. If there’s
one good thing to come out of the Weinstein
stor y, it ’s this new-found solidarity and
personability among women.
And what of the men? A year on and Me
Too is still in the press every day. But now
we have to move on from blaming and focus
on unifying and working together. It has
undoubtedly been a tricky time for men to
navigate, and many have wanted to speak up for
the cause but decided against it, which was not
only sensible but a powerful thing to do. It takes
a lot to listen and step back. For those lamenting
the supposed death of flirting, some advice:
it’s still great to get a compliment – when it’s
respectfully given.
Companies are beginning to listen and act.
Netflix, for example, now gives harassment
training to every single crew and cast member
before they start a job. There’s a phone number
at the top of the day’s call sheet that you can
ring at any time to raise a grievance and it will
be dealt with. It means you know that somebody’s
taking you seriously. And that’s a brilliant step
forward. If every working environment could
duplicate that, there would be enormous change.
We’ve only just begun.
Q
For those
lamenting
the supposed
death of
flirting,
some advice:
it’s still great
to get a
compliment
– when it’s
respectfully
given
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TECH
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CARMEN’S
FAVOURITE APPS
116
Building a
better world
Investor, entrepreneur and
humanitarian Carmen Busquets on
the innovations she most admires
right now. Edited by Dena Giannini.
Photograph by Simon Harris. Styling
by Gianluca Longa
“With VillageLuxe you can
rent out your own closet
and borrow from other’s.
The app is the best cure for
over-consumption and
promoting sustainable
luxury. It’s only in NYC
now, but I can’t wait until
it comes to London.”
“Armarium is a luxury
fashion rental platform.
It has the best edit of pieces
to borrow from some of my
favourite brands – such
as Johanna Ortiz and
Giambattista Valli – plus
more niche labels.”
HAIR: PAULA McCASH. MAKE-UP:
ALICE HOWLETT. GETTY
SONICCLOUD “This revolutionary
technology was life-changing for me.
It personalises sounds from your
smartphone and laptop, making
it perfectly tuned to your hearing.
Whether you have hearing loss, like
me, or are just in a noisy place,
it makes a big difference.”
DONATE A PHOTO “We all have
a bunch of unused photos on our
phones – and this app lets you
donate a photo for stock use, for
which Johnson & Johnson gives
$1 to a cause of your choice.”
RELIEFWEB “This app allows you
to stay current with key statistics,
such as the funding status of global
disasters and the number of affected
populations. It also supplies news,
and infographics.”
SHARE THE MEAL “A crowdfunding
app, this lets you feed a child in
need for an entire day, with just a 50
cent donation. The UN World Food
Programme provides the meals.”
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WONDER WALL
As the indefatigable Samuel Ross builds on the success of
A-Cold-Wall, he’s tearing down other walls: those between
the classes, says Olivia Singer. Photographs by Leon Mark
Y
Above: Samuel
Ross, founder
and designer of
A-Cold-Wall:
“To me, streetwear
feels like energy”
120
ou hardly have to be an
insider to have noticed that,
over the past year, the
fashion industry has evolved
with a profound ferocity, and a new
spirit has swept through its hallowed
halls. Streetwear, once a word used
with derision, has become the mot du
jour: skate brand Supreme won a
CFDA Award, Off-White’s Virgil
Abloh was appointed menswear artistic
director at Louis Vuitton, and now a
new generation of designers, as keenly
attuned to youth culture as storied
techniques, are taking centre stage. “It’s
a complicated term but, to me, streetwear
feels like energy,” explains Samuel Ross,
the 27-year-old Brixton-born designer
behind the astonishing success of
A-Cold-Wall. “It’s its own world,
its own environment. It captures subcultures; everyone from kids in Brooklyn
screen-printing T-shirts to the kids in
Peckham doing the same.”
In person, Ross manifests this new
spirit: the day we meet in east London,
near where he lives with his girlfriend
and their 10-month-old daughter,
Genesis, he is dressed in an artfully paintsplattered tracksuit of his own design,
carrying a neon Prada bag and wearing
box-fresh trainers (A-Cold-Wall, of
course; he’s about to launch a Nike
collaboration, but he’s staying on brand
for Vogue). He’s arrestingly handsome,
decked out in an assortment of thick
chain necklaces: one heavy silver, one
white ceramic (part of Abloh’s debut
Louis Vuitton collection) and one formed
from African beads in homage to his
Windrush heritage. From his shaved
head to his hands, he’s covered in tattoos:
“I started getting them at 17. Every time
I got a new one, it felt like I was removing
myself further from the standardised
system of stable school, stable job,” he
says. “If I got tattoos, I couldn’t end up
working in McDonald’s again.”
In the decade since he had “Heard by
God” writ on his chest, he has
determinedly carved out his own path.
When he was only a few years old, his
parents moved from Brixton to
Northampton, resolving not to let their
son grow up among gang culture, but
by 15 Ross was selling fake designer
clothes from their redbrick estate. “We
didn’t have any money but, from a young
age, I had this hunger for consumerism,”
he says. “I remember being 13 and
STYLING: VICTORIA YOUNG. HAIR: YUMI NAKADA-DINDLE. MAKE-UP: KIRSTIN PIGGOTT. NAILS: ROBBIE
TOMKINS. MODEL: EGYPT AMOUR. WITH THANKS TO SOUTHBANK CENTRE’S HAYWARD GALLERY
Utility hoodie, £843.
Trousers, £362.
Trainers, £188. Far
right: Jacket, £787.
Rucksack, £432.
All A-Cold-Wall.
Opposite, centre:
Ross with Virgil
Abloh in Los
Angeles last year
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SHUTTERSTOCK
crying because I couldn’t have a polynylon Nike bag.” Leaving school with
an obsession with branded product, he
went on to study graphic design and
illustration at De Montfort University.
He achieved a first-class degree and
ended up working as a graphic product
designer for industrial brands such as
Wilkinson and Beko kettles, “but I
wanted more”. Accordingly, he set up a
series of portfolio sites online and, after
sending dozens of emails to a nascent
Virgil Abloh, finally caught his
attention. “I remember sitting in my
swivel chair in Leicester when he
followed me back on Instagram,” he
grins. “I tried to tell everyone at the
lunch canteen about it, and they were
just like, ‘Who? Get back to work!’”
What followed was a call from Abloh
offering an internship; the next week
Ross left Leicester and moved into his
auntie’s spare room in Croydon. He
found a job at a Shoreditch ad agency,
worked nights remotely for Abloh and,
when Abloh and Kanye West went to
Paris Fashion Week to launch Kanye’s
APC collaboration and stage the OffWhite showroom in 2014, Ross promptly
got on a train to find himself surrounded
by his idols. “It was completely insane,”
he laughs. “I went from being a kid in
Middle England to sitting on a sofa with
Kanye West, Virgil Abloh, Jerry
Lorenzo – literally overnight.”
It was the relentless optimism, and
staunch perseverance, of his new peers
that propelled him into planning his
own endeavour: “I learnt how to work,
man. I learnt how to sacrifice. And, from
Virgil, I learnt hope.” Before long, he
had put together plans for “an art project
based on exploring the cultural melting
pot of the UK”, which in 2015 launched
as A-Cold-Wall. “When I started it, I
didn’t have the intent to create a fashion
line, but product grew out of that
narrative quite quickly.”
While it might not have been the
original aim, that product has made
major waves. Rooted in the style tribes
of the British working classes – neat
cross-body bags evolved from marketstall holsters; utility vests and puffer
jackets from Matalan blueprints but
meticulously made; technical nylon
tracksuits developed with high-tech
finishes – A-Cold-Wall offers clothing
embedded in a cultural conversation but
elevated with fresh appeal. “Samuel,
since his time as my assistant to now, has
been a part of this new breed of design,”
reflects Abloh. “[He has] affirmative
intention and [is] precise in his execution
in garments as well as ambience.”
For his spring/summer 2019 collection
Ross examined the sociological legacy
of Brutalism, explaining that by living
within the concrete high-rises that
proliferate across this country, “tension
and fear can become your framework”.
With artisanal techniques and gently
slouching knitwear interspersed with
technical fabrics and carefully considered
cargo pants,“I’m talking about stripping
away the effects and repercussions that
these concrete blocks leave on people,”
he said. “I feel that fashion needs to be
political because it reaches millions of
people on a day-to-day basis and it really
can be the hand that pulls people
through the glass mirror; it really can
change things.”
Ross is testament to the fact. Having
found major investment from Tomorrow
London Holdings to develop his
manufactur ing finesse, with 117
international stockists now retailing the
line, and having already achieved a
turnover near unheard of for an emerging
brand (€8.4 million in 2018), he is proving
a determined desire to write his own
script. “He’s just a cool, super-sweet and
very talented guy with a ‘no border’ vision,”
explains Dover Street Market CEO
Adrian Joffe, who has staged A-C-W*
installations in two of his global retailers.
“We like him and we like his brand.”
Having earned fans in everyone from
Joffe to Karl Lagerfeld (who, according
to Ross, gave a standing ovation
following his LVMH Prize presentation),
Ross has found himself legitimised by
the establishment while keeping a firm
grasp of his roots.
“I feel liberated,” says Ross. “Now, I
feel just as at home when I’m on a
council estate talking to my people as I
do when I’m in Soho House asking for
the à la carte menu.” If fashion’s new
wave can be judged by its energy, he is
its perfect ambassador.
Q
A-COLD-WALL
A-COLD-WALL
SPOTLIGHT
“I went from
being a kid
in Middle
England to
sitting with
Kanye West,
Virgil Abloh
– overnight”
121
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VOGUE
+FREE GIFTS
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EDITIONS
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RRP £47.*
INCLUDING
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Prismologie is a modern luxe body care range created to inspire you to enhance your life with colour. Uplift your mood with an explosion of the
senses, care of sophisticated fragrances, superior textures and rare ingredients sourced from across the globe. Each product combines a
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CALL 0844 848 5202 REF CVO17784 OR VISIT WWW.VOGUE.CO.UK/SUBSCRIBE/CVO17784
*Offer closes November 6th, 2018. The offer and gift are 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.
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SPOTLIGHT
Stealing a
march
Already Tokyo’s arbiter of cool,
self-styled nerd Yoon Ahn has now
“ambushed” Dior. By Ellie Pithers.
Photograph by Hiroshi Manaka
I
t’s tempting to read Yoon Ahn, the co-founder of the
Tokyo-based streetwear brand Ambush, as the archetypal
rebel. Platinum-haired and Céline-clad, she has talked
in the past about being “an outsider” in the fashion
industry. Korean-American, she lives in Japan, whose culture
she has described as one that “likes to box you in”. She spent
her teenage years in Seattle, in the 1980s, when Nirvana were
stoking up grunge. Kanye West, A$AP Rocky and Rihanna
wear her designs. So it’s a surprise to hear that she >
123
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Left: Yoon Ahn at the Love Magazine x Miu
Miu party, 2015. Right: bejewelled logo
knuckledusters designed by Ahn for Dior
Men’s June show. Below: Ahn takes a bow
with Kim Jones at the Dior Men s/s ’19 finale
Far left: a look from the autumn
Ambush collection at Tokyo Fashion
Week. Left: Lenny Kravitz and Naomi
Campbell wear Ahn’s designs at the
Dior Men show. Below: Ahn with
her husband, the hip-hop artist
Verbal, in 2012
“I definitely
wanted to
approach
Dior with
huge respect”
124
characterises herself as a nerd. “The Asian kids can relate,”
she laughs. “Nerds are not the most loud or standout-ish people
but there’s a lot you can learn from them. I love nerdy people.”
Fast-forward to June 2018 and a familiar “the geek shall
inherit the earth” storyline: Ahn is scooting down the Dior
catwalk, hand in hand with Kim Jones, the newly installed
creative director at the renamed Dior Men, having designed
the rainbow-hued jewellery that sparkled in the spring/
summer 2019 show. “I’ve known Kim for over a decade, we’ve
been friends for years,” she says of the call-up. “When he
decided to do Dior, I was like, OK… that’s a place!” She
presented her ideas to Jones in Paris, in April. Three months
later, her jewellery – candy-hued crystal tennis bracelets,
stone-speckled logo rings – was lighting up social media in
the wake of a well-received debut. “I definitely wanted to
approach Dior with huge respect but I felt it should have
icons that continue regardless of the season – that was
missing,” she explains, speaking over the phone from Tokyo.
The chunky Cuban link necklace with CD closure, for
instance, fulfils that brief: “It’s stable – something that people
will wear regardless of whether it’s spring or fall.”
Stable is a neat word to describe Ahn’s designs for Ambush,
the brand she co-founded with her husband, the KoreanJapanese hip-hop artist Young-Kee Yu, known as Verbal, in
2008. Chunky, solid, relatable – frequently in a tongue-incheek way – her most popular designs include a giant padlock
necklace, a bronze baseball cap and a safety-pin bracelet. A
graphic designer by training, Ahn insists she never planned
to launch a jewellery line, though you sense there’s a savviness
beneath the blithe spirit: when the neon “POW!” rings she
designed for Verbal’s stage appearances (she also replaced his
baggy rapper pants with slick Raf Simons iterations) were
worn by Kanye West, then Pharrell, she saw an opportunity.
“I didn’t want to be a one-hit wonder,” she laughs. “But Verbal
and I didn’t come from fashion backgrounds. Everything was
baby steps and it was all organic: from the beginning we
wanted to make jewellery that wasn’t just for men or just for
women, it was unisex. And from the beginning we wanted
to tell a story every season.” In 2012 they began releasing
biannual collections in earnest, and stockists including Colette
and Dover Street Market came calling. In 2015, they added
clothing to the roster. A year later, they opened their first
store, in Tokyo’s Shibuya district.
Shibuya, a throbbing hive of activity, is where the couple
also lives. “It’s like living in Times Square,” says Ahn of their
apartment on the 16th floor of a high-rise. She recently put
most of their possessions into storage to create a hyperminimal environment. “It helps me to think and design better.”
Organised and intensely driven, she is at her studio by 8am,
often designing late into the night once her 15-strong team
has gone home. Verbal handles the administrative side of the
business. “It’s easy,” she says of working with her partner. “We
are pretty clear on what we’re good at and what we’re not.”
Dubbed the most famous couple in Japan by Jones, Yoon
and Verbal have been married for 12 years, but together for
22, having met at college in Boston. This period, according
to Ahn, was peak geek. “Verbal was really serious about school,
and I was, too. I went to college with a full scholarship so I
had to keep up the good grades.” When he dropped out of
his marketing degree to return to Tokyo, he persuaded her
to follow him. “I’m Sagittarius, so I kind of like to pick a
journey. I said, ‘Why not? Let’s give it a try.’ And now I’m
stuck here!” Not for long, however: she travels every two
weeks, to Paris for Dior; to Boston, where she is working on
a project with Converse; and to Portland, where she is
designing a capsule collection for Nike, out in December.
When in town she tries to find time to go dancing. The clubs
are where she made her entrance on Tokyo’s peacocking
fashion scene in the late 2000s, when the city was going
through a period of regeneration. “This was prior to Instagram,
so you actually had to go to clubs to meet interesting people,”
she says. “My style was much louder. In order to stand out,
you needed to have a lot of colours. I had different-coloured
hair every week. Red to purple to pink to blonde to black.
My hair got a lot of abuse from me – but it grows back.”
Today, her style is a cocktail of statement pieces from
Louis Vuitton and Dior mixed with streetwear of her own
design. She likes to juxtapose “a tight section and a baggy
section – little feminine tops and boyish trousers”. Often,
she persuades Verbal to purchase Comme des Garçons jackets
so that she can steal them – they share a lot of clothes. “But
not his dock shoes. No way. Too old man,” she laughs.
Expanding Ambush to incorporate clothes has deepened
her appreciation of fit and cut, as well as her powers of
persuasion. “I didn’t even know one factory when we started
making clothes – I had to go to the countryside and beg the
owners,” she says. Ninety per cent of the line is manufactured
in Japan. “I want to put good energy into the products I
make. I want the factories to know what they’re making –
I share with them when we get featured in a magazine, when
celebrities wear it. I want them to know what they’ve made
is travelling round the world.”
That said, her current obsession is AI. “I’m revisiting sci-fi
movies,” she says, “reading up on robots and humanoids.”
Recently, she went to a show by her friend Keiichiro Shibuya,
whose Scary Beauty opera employed an android to conduct
a human orchestra. “He was working with scientists to make
AI to sing and compose like a human orchestra would. He’d
play the piano and androids would sing along, but they hadn’t
been pre-programmed. They were reacting. It was crazy.”
She pauses to think. “It’s scary but it’s good to think about.
It’s going to happen, no matter what.”
Q
GETTY; REX/SHUTTERSTOCK; INDIGITAL
SPOTLIGHT
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CHECKLIST
RAIN CHECK
JOSHUA CAUDWELL
When it rains, it pours.
Time to embrace fashion’s forecast.
Edited by Holly Roberts
RUN FOR COVER
Preserve your Peekaboo bag and save it from the inevitable
downpour by investing in the ultimate luxury protector, the Fendi
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a sporty update. Because even your bag deserves a new winter coat.
Calf leather Peekaboo bag, £3,050. Peekaboo Defender, £850. Both Fendi
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Soft Velvet Pressed
Powder, £28, Nars
Patent-leather
trench, £1,440,
Yves Salomon
Vogue,
September
1966
Herbal Recovery
Signature Serum,
£85, Jurlique
Patent-leather boots, £420, Emporio Armani
Rose-gold ring with
diamonds and
carmine carnelian,
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Fine Jewellery
Wool cape,
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Kors Collection
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October 1967
Leather purse,
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Mock-croc bag, £498, The Kooples
128
Leather boots,
£840, Alberta
Ferretti
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CHECKLIST
Vogue, October
1971. Below right:
Vogue, April 1924
PVC bag, £14,
Kurt Geiger
Coat,
£675,
Belstaff
Raincoat, £125,
66°North
Ankle boots,
£49.99,
Reserved
SAUL LEITER; DAVID BAILEY; JUST JAECKIN; HARRIET MESEROLE
Patent-leather bag, £295,
Russell & Bromley
18ct rose-gold
and alligatorleather watch,
£11,400, Chopard
Faux-leather
miniskirt, £65,
Pepe Jeans
Colonia Sandalo eau de cologne,
£179, Acqua Di Parma
129
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BEAUTY
Edited by Jessica Diner
JASON LLOYD-EVANS
GLOWING GONE?
Gigi Hadid for Fendi
autumn/winter 2018
In the quest for luminous skin,
are you taking the right approach?
Put down the highlighter – powder
is making a surprising comeback,
explains Funmi Fetto
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132
JAMES COCHRANE
From top: Giorgio
Armani Neo Nude Fusion
Powder in No 1, £48.
Laura Mercier Loose
Setting Powder Glow in
Translucent Medium
Deep, £29. Mac Cosmetics
Iridescent Powder/Loose
in Silver Dusk, £22.50.
Charlotte Tilbury
Charlotte’s Genius Magic
Powder in Medium, £33
says, “The trend represents a desire for
a simpler, polished aesthetic. That fullcoverage, contoured Instagram make-up
look was bound to spark a rebuff.”
The idea of reintroducing powder into
the beauty conversation will raise some
eyebrows. The long-time connotations
of ageing, drying formulas meant they
lost their appeal and relevance. Now
there is a coterie of new-generation
powders that are infinitely more adroit
than their predecessors with innovative
ingredients, formulations and finishes.
These beautifully-milled newbies blur,
hydrate and mattify while still enabling
“The Glow”. Make-up artist Mary
Greenwell enthuses, “Powders have got
better – the technology is extraordinary
and they give skin lasting, natural
luminosity.” Or, in Charlotte Tilbury’s
words, the effect is like “Liv Tyler in The
Lord of the Rings, with a permanent fairy
light on your skin giving you a magical,
ethereal filter”.
Post-dinner, I quizzed Barber on
the secret to the perfect matt look. “It’s
all about precise powdering – down the
middle of the forehead, between brows,
the sides of the nose – it’s very French.”
I agreed that I’d never really seen French
girls sporting the highlighted glow.
“Oh God, no,” replied Barber, mortified.
“Their glow comes from a facial
plus powder. It’s very classy. For me,
that’s the most modern way.”
Q
PRABAL GURUNG
W
e were mid-conversation
at a recent dinner when
Terr y Barber, Mac
Cosmetics’ director of
make-up artistry, dropped a bombshell.
“The glow is dead,” he said casually.
“What do you mean?” I asked, shocked.
Consider the context: “The Glow”, that
super-highlighted glass skin, the modern
paragon of beauty. It has spawned
legions of new brands, trillions of clicks,
column inches, masterclasses, YouTube
videos – how can it be over? “The way
highlighter is used now is just not fresh,”
Barber sighed, “it looks dated. But,
powder is back.”
The surreptitious longing for the
demise of extreme highlighting has been
doing the rounds in the beauty industry
for a while, but nothing has offered a
replacement strategy. Influential Barber
is the first to openly call out “highlighter
shame”, but Linda Cantello, Giorgio
Armani international make-up artist, also
welcomes this mood change. Lest
confusion set in, the message is not “antiglow”. “I think the term has been hijacked
to the point that looking like the Tin
Man in The Wizard of Oz has become
ubiquitous,” explains Cantello. “Glow is
not about metallic shine; it’s about
radiant skin. Now, with new technologydriven powders, you can be matt and
luminous.” Make-up artist Alex Babsky,
also a paid-up powder-party member,
BALMAIN
BURBERRY
BEAUTY
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Your skin. Your story.
My “Desert Island”
must-have. I literally
could not live
without it
(not happily anyway).
Rebecca Perchard, Essex
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DIRECTOR’S CUT
A clear future
A
Right, from top: Dr
Dennis Gross Alpha
Beta Universal
Daily Peel, £16.50,
at Space NK.
Shiseido Treatment
Softener, £47.
Votary Clarifying
Facial Oil, £65.
Medik8 C-Tetra
Lipid Vitamin C
Antioxidant Serum,
£35. Elemis Peptide4
Thousand Flower
Mask, £37. Drunk
Elephant Lala Retro
Whipped Cream,
£60, at Space NK
and Cult Beauty.
Origins Super
Spot Remover
Blemish Treatment
Gel, £15.50.
Kate Somerville
ExfoliKate Intensive
Exfoliating
Treatment, £72
134
dult acne. Where to begin?
Such a widespread and, quite
frankly, traumatic topic. My
skin was fairly well behaved
up until recently, but now, mid-thirties
and post-pregnancy, I find myself
navigating the complicated complexion
network – and it’s not ideal. Being a
beauty director, you’re judged at face
value, your skin a calling card for your
profession. Ridiculous, yes, and a selfimposed insecurity, perhaps, but it
doesn’t do wonders for the confidence.
There is solidarity among acne
sufferers, however. When I meet Tiffany
Masterson, founder of Drunk Elephant
skincare, I find an ally: “I had too many
bad experiences as a teenager. I remember
panicking, trying toners, scrubs and
stripping lotions.” Ditto. But it’s an adult
phenomenon, too. “I do consultations
all day and I’m seeing adult acne cases
more and more,” says Noella Gabriel,
co-founder of Elemis skincare. “It’s
overtaken sensitivity as the number-one
concern.” No prizes for guessing why:
stress and modern-day living. “Stress
keeps adrenaline high and knocks out
the circadian rhythm. When this
happens you get oily skin,” she explains.
So how to treat it? First, the regime:
“Essential oils, fragrance, chemical
sunscreens – they all break you out,” says
Masterson. “You need a low-PH
cleanser, good vitamin C, physical
sunblock, moisturiser, a pure, skinidentical oil, like Marula, and a chemical
exfoliant. It works.” Which is probably
why her non-toxic, “clean clinical” brand
is one of Sephora’s bestselling skincare
ranges (it just launched in the UK).
Then the treatments: super facialist
Debbie Thomas (dthomas.com) is
pragmatic, “Acne is not curable, but you
can manage it so it’s less aggressive, less
frequent and so the skin heals quicker.”
Her approach is bespoke and methodical.
It’s tactical and tech-y. She uses a
combination of peels, lasers, lights and
microneedling to clear skin at the surface
and encourage collagen production from
within. It’s intense, but not aggravating,
brightening and clearing. Again, it
works. In fact, it’s totally spot on. Q
MARIO SORRENTI/ART PARTNER; LUCKY IF SHARP
Breakouts are bad news, adult acne worse still.
Jessica Diner learns how to clean up her act
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Š
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BEAUTY
WASTE
NOT…
What does sustainability
look like in the beauty
industry now? Kathleen
Baird-Murray reports
on the problem of excess
packaging and a recycling
crisis. Photograph by
Jenny van Sommers
SET DESIGN: GEMMA TICKLE. DIGITIAL ARTWORK: HEMPSTEAD MAY
M
y day starts with a lot of
jumping up and down in
the kitchen. Flattening
piles of glossy white cardboard boxes until they’re thin enough
to wedge into the bulging recycling bin
is an occupational hazard if you’re a
beauty writer. Lotions and potions are
delicious to receive, but when they arrive
at my home to be tried and tested –
delivered in excess packaging – they
might be chocka with suds, sunscreens
and silicones, all of which are potentially
toxic to the environment.
At this point I’ll make a coffee, listen
to the radio and every so often hear
some one such as environmental
strategist Professor Johan Rockström,
joint director of the Potsdam Institute
for Climate Impact Research, talking
about why the planet must become more
sustainable. We’re at crisis point, he explains, and starting to
see the cracks in the strength of the earth’s system. The irony
of what I’ve just opened does not escape me.
“Seventy per cent of the waste from the beauty industry is
from packaging,” says Arnaud Meysselle, CEO of Ren Clean
Skincare. On the phone from Las Vegas (“Have you been to
this city? It’s a sustainability disaster!”), he tells me about Ren’s
new initiative, a first in the beauty world: a bottle made from
100 per cent recycled plastic – 20 per cent of which has come
directly from the ocean, scooped up in collections organised by
TerraCycle, which partners with individuals, brands and retailers
to gather and sort waste previously thought to be unrecyclable.
“There are 10 rivers in the world responsible for 90 per
cent of the plastic in our oceans – eight in Asia, two in Africa,”
explains Meysselle. “Rubbish from gigantic landfills filters
through into these rivers and flows into the sea. There are
tons of ocean plastic, and it’s a very long process to sort it,
with the resulting bottle costing around 15 times more than
virgin plastic. We were told that 10 per cent ocean plastic
was the maximum we could incorporate, and we’ve made it
20 per cent because we wanted to make a statement.”
Meysselle speaks with urgency; with a goal of zero waste
by 2021, he has a lot to do. The Ocean Plastic bottle was
conceived a year ago after a conversation with the Surfrider
Foundation, an ocean-conservation group affiliated with UK
charity Surfers Against Sewage. Meysselle took part in a
90-minute beach clean-up in LA. “We collected 85kg of
rubbish on a beach that was supposedly ‘clean’. When you >
“Seventy per
cent of the
waste from
the beauty
industry
is from
packaging”
137
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BANGKOK
DUBAI
KIEV
MOSCOW
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BEAUTY
GETTY IMAGES; LUCKY IF SHARP
“It takes 450 years
for plastic on the beach
to disappear,” says
Ren CEO Arnaud Meysselle
see coffee cups, straws, and understand it
takes 450 years for plastic on the beach
to disappear, it brings tears to your eyes.
Then the day after, the tide is back… and the plastic is back.”
The new bottle is grey and, admittedly, not the most
luxurious-looking, but Meysselle says, “It’s the future. Grey
is the new green.” There is certainly lots of grey in sustainability.
There are so many contradictions that it’s hard to decipher
what’s “greenwashing” – banging on about how great you are
at saving dolphins/rare tribes, all the while submitting your
products for animal testing in China/shipping bottles across
the world/paying below-living-standard wages – and what’s
genuine. Even with the best intentions, it’s hard to get it
right. For example, while Ren’s bottle is 100 per cent recycled,
it’s first to admit the pump isn’t: “But we’re working on it!”
Yet it’s an incredible time to be talking about sustainability.
Thanks to David Attenborough’s The Blue Planet and the work
of pioneering beauty brands such as Aveda, The Body Shop,
L’Occitane, Dr Hauschka, Burt’s Bees and Lush (the latter,
partnering with the Ocean Legacy Foundation, aims to use 27
tons of marine debris for product packaging), the wealth of
innovation and creativity makes this the most exciting “problem
plus solution” the beauty industry has embraced. New technology
means that fragrance house Firmenich is inventing biodegradable
synthetic fragrance molecules that won’t pollute water, while
another, Givaudan, is working with landowners to swap harmful
palm oil for profitable oud plantations. Plastics can be made
from sugar cane; you can donate to wildlife conservation via
brands such as Chantecaille or help female flower harvesters
in Morocco with fragrance house Sana Jardin. Beauty giants
LVMH, Estée Lauder, Unilever and L’Oréal have published
their policies on waste reduction, respecting biodiversity,
reducing water consumption and other sustainability goals.
There’s even a new range of skin, hair and body care by
Unilever called Love Beauty and Planet – its first new beauty
brand launch in more than 20 years – which focuses purely
on sustainability and is 100 per cent vegan.
Beauty-brand entrepreneur Marcia Kilgore is championing
the use of recycled plastic and protecting the purity of water
with the charity WaterAid, via her liquid-soap brand Soaper
Duper, which launched in 2016. She believes it’s important
to try to set the right intentions, even if it takes a while to
fulfil them. “I’d rather buy from a brand that uses 50 per cent
virgin plastic than one that uses 100 per cent,” she says.
“Better to be solving any part of the problem than not at all.
We’ve all got to contribute to the solution.” Trying not to
use plastic at all isn’t always viable. “Glass, for instance,” she
explains, “is heavier to ship than plastic, uses up the world’s
sand, has more of a carbon footprint in its shipping – but
you’ll still have people insisting that all plastics must go.”
Packaging is far from the only bugbear. Nausheen Qureshi,
founder of Elequra skincare, who also works behind the scenes
as a chemist and formulator for several boutique skincare
brands, explains: “There’s a whole world beyond packaging
that’s environmentally unfriendly, with certain
ingredients not effectively removed from wastewater treatment plants, which means they go into
the sea and pollute.” She cites sunscreen, surfactants
(sudding agents in shampoo and face wash), synthetic
fragrances and silicones (used in everything from
hair serums to moisturisers) among the worst culprits.
As consumers, a simple choice we can make is
to buy natural – not for the reasons you might think.
“If you squirt natural ingredients on to soil, they’ll
break down more quickly than synthetic ones,” says
Qureshi, “but the real benefit is that their biological
growth period prior to extraction helped the
environment by absorbing carbon dioxide.”
When I ask her to go through my bathroom essentials (from
a stash already edited to rule out anything tested on animals)
to tell me what’s good from a planet perspective, it’s illuminating.
My Rahua shampoo and conditioner come out top: the energy
output to create them is partly offset by the positive carbon
impact of growing the plants themselves. Sadly, my beloved
Philip Kingsley Elasticizer has ethylhexyl dimethyl PABA and
amodimethicone, which can contribute to aquatic toxicity and
affect the ecosystem’s balance. My Radical Age Defying
Exfoliating Pads are a mixed bag, with carbon-neutral plantderived ingredients (hurrah!) contrasting with denatured alcohol,
which is harmful to marine life (boo!). My Hourglass foundation,
Laura Mercier lip pencil, Vita Liberata Sheer Tint, Institut
Esthederm No Sun sunscreen and BeautyPie JapanFusion
Cleanser all have ingredients that can cause aqua toxicity. But
with some research we can make intelligent switches that don’t
compromise on quality: Sister & Co’s Deep Cleanse Ultimate
Detoxifying Soap Bar with activated charcoal; oils by L’Officine
Universelle Buly; biodegradable cleansing wipes by RMS
Beauty; or serums by new naturals brand Wildsmith Skin.
Sustainability has been a buzzword for decades, yet is still
in its infancy, evolving just as we are. As Camilla MarcusDew, founder of the Soap Co, a luxury liquid-soap company
that gives 80 per cent of its jobs in the UK to blind people
and those with other disabilities, puts it: “We think it’s not
enough just to sustain. From an environmental perspective,
you can’t just not negatively impact the world, you have to
add a positive.” Wouldn’t it be great to leave this planet better
than when we came into it? We can but try.
Q
“Glass is
heavier to ship
than plastic,
uses up sand,
has more
of a carbon
footprint in
its shipping…”
Clockwise from far left:
Soaper Duper Nourishing
Body Wash, £6.50.
Dr Hauschka Rose Day
Cream, £30.50. Aveda
Shampure Shampoo,
£14.50. L’Officine
Universelle Buly Scented
Soap Sheets, £15, at
Selfridges.co.uk. Lush
Glow Stick Highlighter
in Goldfinch, £12. Sister
& Co Activated Charcoal
Soap Bar, £13, at
Feelunique.com. Ren
Atlantic Kelp and
Magnesium Anti-Fatigue
Body Wash Ocean Plastic
Edition, £22, at Space NK.
Wildsmith Skin Active
Repair Copper Peptide
Serum, £130. Burt’s
Bees Cucumber Mint
Lip Balm, £4
139
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@glamouruk
glamourmaguk
@GlamourMagUK
Glamour Magazine UK
YO U R AW18
BEAUTY BOOK
ON SALE NOW. 3 COVE RS TO COLLECT
BEAUTY
|
FAS H I O N
|
E N T E R TA I N M E N T
GLAMOUR.COM
|
WELLNESS
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BEAUTY
Clockwise from top
left: Mac Cosmetics
Matte Powder Kiss
Lipstick in Shocking
Revelation, £17.50.
Bobbi Brown Luxe
Matte Lip Color in
Plum Noir, £28.
Armani Beauty Rouge
d’Armani Lipstick in
Milano, £30. Chanel
Les 4 Ombres Palette
in Clair-Obscur, £44.
Chanel Rouge Allure
Liquid Powder Lip
Color in Invincible,
£31.Clinique Pop Lip
Shadow in Dune
Pop, £17. Clarins
Ombre Matte
Cream Eyeshadow
in Heather, £19.
Dior Rouge Blush in
Poison Matte, £34
BACK TO MATT
Dense pigments, rich textures and gel-powder
formulas are the modern way to wear make-up now,
says Jessica Diner. Photograph by Kate Jackling
141
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HELMUT NEWTON
WELLNESS
THE BRAIN GYM
CARDIO FOR YOUR FACE
When James Vogl, a former hedge fund
manager, made some healthy financial
gains in 2016 – the day Trump was
elected – he decided to use the
unexpected rewards to do something
different. His dream was to create a gym
where no actual physical activity happens
– the vision was the Cerebral Gym, a
place that would offer a range of activities
and environments to exercise the mind.
With a permanent Cerebral Gym
launching soon in London (and New
York in the near future) a pop-up is now
in progress with plenty of brain-boosting
activities. Book in with a personal trainer
to curate a mind-expanding plan of
reading lists, cultural programmes and
memory-improving techniques, or head
to the games room to play backgammon,
chess or Monopoly. Members are also
invited to join debate groups, lectures,
and sign up for 10-week courses on
anything from “conversational Mandarin”
to “becoming a better parent”. You can
also check into the Mindfulness Zone
for meditation or to listen to a podcast.
The best bit? You won’t break a sweat.
Classes from £35, Cerebralgym.com
With more than 40 muscles in your face,
it makes sense that it, too, needs a
workout. This is the thinking behind
The Face Gym, where the facials use
hi-tech tools to lift, tone, firm and sculpt
skin, resulting in a healthy glow.
Instantly impactful, it makes a case for
weekly workouts for your face. Try the
latest Clean and Lift facial (£75), which
uses 4D laser technology to tighten and
target polluted skin. Facegym.com
NEW-AGE
GYMS
Workouts have taken on a whole new
dimension: from brain training to facial
cardio, it’s time to widen the scope of your
exercise, says Lauren Murdoch-Smith
THE SLEEP SCHOOL
THE GUT WORKOUT
If you find it hard to fall asleep, wake
often in the night or you’re just not
getting enough, it might be time to
attend the Sleep School. Offering private
clinics, live workshops and online classes,
doctors help retrain your brain to sleep
better, naturally. The school looks at what
is happening with your sleep patterns and
finds out your triggers and symptoms by
assessing factors such as lifestyle, family
history and life stresses, before advising
how to get back to being “sleep fit”.
Initial consultation, £300, Thesleepschool.
org. The Sleep Book by Dr Guy Meadows,
founder of Sleep School (Orion, £8.99)
Gut health has a direct link to your
physical and mental fitness. Welcome to
Bodhimaya, a retreat specialising in
personalised programmes to restore and
rejuvenate the mind and body back to its
best working condition. Its Gut Repair
plan identifies issues that are having a
negative impact on the digestive system.
Once these are known, the programme
starts regaining gut health via diet,
supplements and lifestyle changes.
Available at Cliveden and Cowdray
House, you can request a private retreat
wherever you are in the world.
From £1,195, Bodhimaya.com
Book in
with a
personal
trainer
to curate
a mindexpanding
plan of
reading lists
143
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BEAUTY
Time to get LIIT
T
hanks to the lower risk of injury, LIIT (Low
Intensity Interval Training) is taking over from
HIIT. But while the exercises might be slower,
they still deliver results. Pulse at London’s Third
Space uses ballet-inspired techniques for leaner muscles.
While Dalton Wong, founder of Twenty Two Training, has
created a Mini-Band home workout (£48) to burn fat and
improve tone. Thirdspace.london; Twentytwotraining.com
From left:
Maximum
Moisture Micellar
Cleansing Gel,
£5. Sleep Spa
Every Night
Eye Mask,
£4. Pollution
Solution
Dual Texture
Exfoliating
Pads, £5. All
Alex Steinherr
x Primark
BEAUTY
MUSINGS
She’s the ex-beauty director of Glamour,
so Alex Steinherr certainly knows her stuff.
Now she has teamed up with Primark (and
its limitless research and ingredient
resources) to create skincare at democratic
prices, with 20 products that are fragrancefree and Leaping Bunny-approved.
Steinherr realised there was a need for
skincare that was luxurious, but still
reasonable for the younger consumer and
skintellectual. “Why shouldn’t good
It’s official: the choice of
skincare be for all? I’ve worked to bring
mascaras has never been so the best technology at affordable prices.”
abundant. From 3D wands
Her standouts? Plump + Glow Power mask
to super-lengthening and
(£3) and the Sleep Spa Every Night Eye
ultra-thickening formulas,
Mask (£4). The Alex Steinherr x Primark
here are our prettiest picks. collection is available from October 8
It’s a London
thing…
144
Marc Jacobs
Velvet
Noir Major
Volume
Mascara, £22
Chanel Le Volume
de Chanel Mascara, £28
ax
Clim 21
s
r
a
N
,£
cara
s
a
M
IT Cosmetics Superhero
Mascara, £19
Paris
L’Oréal ara, £11
ed Masc
Unlimit
Lancôme Monsieur
Big Mascara, £21
Val Garland, a make-up
artist for more than
30 years and a Vogue
contributing beauty
editor, has published
Validated! The Makeup
of Val Garland, an
access-all-areas journal
of her most inspiring
shoot and show looks.
Validated! (Laurence
King Publishing, £35)
Trish McEvoy
Lash Curling Mascara, £22.50
MASCARA
MOMENT
Her, Burberry’s new fragrance, is
inspired by the bold spirit of a
Londoner, and who better to be its
face than Cara Delevingne? Created
by Francis Kurkdjian, it’s a floral
blended scent with a musky amber
base. Burberry Her eau de parfum, £49
ACCESS
ALL AREAS
SKINCARE FOR ALL
NICK KNIGHT/TRUNK ARCHIVE; LUCKY IF SHARP
LIIT takes over
from HIIT, plus affordable
luxe skincare. Lauren
Murdoch-Smith brings you
this month’s news
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STYLING: VENETIA SCOTT. HAIR: ANTHONY TURNER. MAKE-UP: HIROMI UEDA. NAILS: ADAM SLEE
Leather jacket, £6,970.
Toile blouse, £1,280.
Leather trousers,
£6,330. Necklace,
£1,215. Cuffs, £1,415
each. Bangles, £610
each. All Chanel
HIGH OLD
TIMES
HALF THE THRILL OF FASHION’S “MADELEINE MOMENTS” IS IN EMBRACING A NOVEL PERSONA.
FROM A SHARPLY SUITED TEDDY GIRL WITH AN EYE FOR EXUBERANT TRIMMINGS TO A LOVESTRUCK
DYNASTY-ERA HEROINE HOLED UP IN A HOTEL SUITE, WITH ONLY HER FABULOUS WARDROBE FOR
COMPANY, AUTUMN’S HEADLINE ROLES ALL CALL FOR UNABASHED DECADENCE. DRESS UP, UP, UP,
AND HEAD OUT – EVEN IF YOU’RE WEARING PRECIOUS COUTURE. FOR, AS BRITISH MODELLING’S
BRIGHTEST NEW STAR, FRAN SUMMERS, ILLUSTRATES, THE SEASON’S MOST INTOXICATING CLOTHES
ARE MADE FOR FLASHBULBS. PHOTOGRAPH BY ALASDAIR MCLELLAN
147
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FAIRY TALE OF
NEW YORK
FRAN SUMMERS IS THE BRITISH MODEL POISED FOR STARDOM.
NOW WATCH HER TAKE THE BIG APPLE IN THE SEASON’S MOST
EXQUISITE COUTURE. INTERVIEW BY ELLIE PITHERS. PHOTOGRAPHS
BY INEZ AND VINOODH. STYLING BY EDWARD ENNINFUL
From pavements to
premières: Chanel’s
sequin-strewn,
silk-chiffon gown is
arrestingly lovely.
Ivory dress embroidered
with stones, beads
and sequins. Leather
fingerless gloves. Both to
order, Chanel Haute
Couture. Jewelled satin
shoes, £1,200, Roger
Vivier. White-gold and
diamond earrings.
White-gold and
diamond necklace.
Both price on request,
Chanel Fine Jewellery.
Ribbon, worn as hairband
throughout, from £2
a metre, VV Rouleaux
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Antiques roadshow:
a Ronald van der Kemp
vintage lace dress is a
museum piece that
deserves the spotlight.
Above: off-white
re-embroidered lace
gown with fringed
organza sleeves, to order,
RVDK Ronald van der
Kemp, at Browns.
Platinum and diamond
earrings, price on
request, Cartier
150
J
uly 4 2018 was a somewhat surreal day for Francesca
Summers. The 19-year-old model had ticked off several
to-dos on her professional bucket list – a Prada
campaign, a Vogue cover – but her latest assignment,
opening the Valentino couture show, was up there. “Up” being
the operative word: Summers’s challenge was to slink round
the opulent rooms of Paris’s Hôtel Salomon de Rothschild
wearing a five-wig-strong, Marie Antoinette by way of Maria
Callas, bouffant – “and make it look weightless”.
“It felt like someone had attached a huge bean bag to my
head,” recalls Summers, on a sweltering August day in
London. She’s wearing a Prada bucket hat, a Louis Vuitton
T-shirt, faded denim shorts and Naked Wolfe platform
trainers that further elevate her twiglet frame – a goofy look
that couldn’t be more at odds with the floor-sweeping azure
cape and gown she had worn in Paris. “When you walk out
onto a Valentino catwalk you hear gasps,” she says, wide-eyed.
“I spent the whole thing trying not to cry.”
Fran is in demand. Catwalk appearances for Chanel and
Givenchy have been followed by campaigns for Chloé and
Versace, and an appearance on Vogue’s May cover as part of
a portfolio of fresh model faces ushering in a new era of
diversity. Vogue’s Kate Phelan, who styled her for a shoot at
home in Yorkshire for the magazine’s September issue, says:
“She has the natural walk-in-the-room beauty that stops
people dead, but also an ability to interpret fashion that’s
highly unique. She’s one of those girls who will be defined
alongside other famous British models.”
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Clare Waight Keller, who cast her in the final, Audrey
Hepburn-inspired look of her autumn 2018 Givenchy couture
show, agrees. “There is something about Fran that feels very
refined and elegant, while remaining fresh and relatable.
I felt that casting a confident woman with timeless allure
and natural attitude would bring that iconic dress into 2018.”
Summers, like all good supermodels, has a creation myth
to dazzle the agnostic. Born in Richmond, North Yorkshire,
the daughter of Keith and Sandra, who own a carpet and
flooring business – “‘Carpets direct, floors for living,’” she
sings, giggling – it’s hard to believe she was a shy child. She
got her break at 15, when she came to London to visit her
older sister and ended up in the Mac Cosmetics store in
Westfield. The in-store make-up artist was so convinced she
should be a model that the next day she insisted on taking
her to Storm. “I thought it would be a laugh,” recalls Fran.
“Then we walked in and they handed me a contract.”
Her talent for making people laugh may be her most
precious asset. In an increasingly clamorous industry of models
with causes and catchphrases, Fran approaches fashion with
a healthy dose of humour. Her Instagram account,
@fransfeasts, is a visual diary of the meals and dodgy backstage
catering she consumes in remarkably large quantities,
accompanied by esoteric captions. (“Truffle pizza, this is the
boujiest I’ve ever felt in my whole life 10000/10” reads one.)
If she tires of modelling, she plans to open a café serving
falafel wraps (her favourite food) and frozen yoghurt. “I’ll
call it Fran-afels. Trademark.”
Q
John Galliano’s
deconstructive
Margiela wizardry
exemplifies
“nomadic glamour”.
Above: canvas cape
with chiffon overlay,
pillow and bolster.
Plumed trench coat
headpiece. Platform
shoes. All to order,
Maison Margiela
Artisanal by John
Galliano. Platinum
and diamond
earrings, price
on request, Cartier
151
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Park and ride: icy
pink Valentino is always
a crowd-pleaser, but
nothing commands
the top deck like miles
and miles of feathertrimmed organza.
Pale-rose dress
embroidered with
feathers, to order,
Valentino Haute Couture.
Diamond and tanzanite
earrings, £13,100.
White-and-pinkdiamond ring, price on
request. Both Tiffany
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154
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Accessorise a smooth bob with
a ribbon tied in a polite bow.
Keep hair in place by prepping
with Kérastase Forme Fatale
Voluptuous Blow-dry Gel,
£21.40, then style with heat.
Opposite: white bow blouse
outlined with Swarovski
crystals, to order, Viktor & Rolf
Haute Couture. Platinum and
diamond earrings and ring,
price on request, Cartier.
Real-time traffic update?
Only swathes of Givenchy’s
georgette and silk-organza
will break the gridlock.
This page: asymmetric dress
with sun-pleats. Georgette
and silk-organza hood. Both
to order, Givenchy Haute
Couture. Diamond earrings,
price on request, Cartier
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Change your stripes:
according to Sonia
Rykiel, embroidery
and feathers are
now the ultimate
match for denim.
Silk wedding dress
with veil and stole.
Denim trousers. All
to order, Sonia Rykiel
Couture. Jewelled
satin shoes, £1,200,
Roger Vivier. Multicoloured diamond
necklaces, price on
request, Cartier
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Thick, defined eyelashes
complement couture perfectly.
Apply Mac Cosmetics Bold &
Bad Lash Mascara, £20, to top
and bottom lashes, combing
through to exaggerate definition.
Above: corset dress embroidered
with lace and matching parasol,
to order, Dolce & Gabbana Alta
Moda. Diamond and sapphire
earrings, price on request, Cartier.
There’s nothing pedestrian about
Fendi’s sherbet-pink dress, cast
from yards of lace and thousands
upon thousands of beads.
Opposite: dress embellished
with feathers and floral
appliqué, to order, Fendi Haute
Couture. Shoes, as before.
White-gold and diamond
earrings, price on request,
Chanel Fine Jewellery.
White-gold and diamond
ring, price on request, Bulgari
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159
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Trip adviser: twilight in
Times Square demands
five-star dreaminess,
courtesy of Dior.
Pink pleated tulle dress
with silk belt, to order,
Dior Haute Couture.
Diamond, sapphire,
garnet, emerald and
turquoise earrings.
Multicoloured diamond
and pink-sapphire
bracelet. Both price on
request, Dior Joaillerie.
For stockists, all pages,
see Vogue Information.
Hair: Christiaan.
Make-up: Dick Page.
Nails: Rieko Okusa.
Production: VLM
Productions. Postproduction: StereoHorse.
Model: Fran Summers
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FROM LEFT: ELIZABETH
WEARS LACE DRESS,
£7,830, RALPH LAUREN
COLLECTION. SHOES,
£370, STUART WEITZMAN.
NECKLACE, PRICE ON
REQUEST, TIFFANY. VIOLA
WEARS TUXEDO JACKET,
£5,450. DINNER SHIRT,
£1,400. TROUSERS, £1,800.
ALL GIORGIO ARMANI.
SHOES, £595, MANOLO
BLAHNIK. EARRINGS,
PRICE ON REQUEST,
CARTIER. CYNTHIA WEARS
DUCHESSE-SATIN DRESS,
£6,895, MICHAEL KORS
COLLECTION. SHOES,
£750, ROGER VIVIER.
DIAMOND EARRINGS AND
NECKLACE, PRICE ON
REQUEST, TIFFANY. OTHER
JEWELLERY, CYNTHIA’S
OWN. MICHELLE WEARS
DRESS, £1,550, GIORGIO
ARMANI. SHOES, £495,
CHRISTIAN LOUBOUTIN.
NECKLACE, PRICE ON
REQUEST, TIFFANY.
HAIR: BOB RECINE.
MAKE-UP: FULVIA FAROLFI.
NAILS: JULIE KANDALEC.
DIGITAL ARTWORK:
SALLY TAYLOR
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TAKING CARE
OF BUSINESS
When director
Steve McQueen
decided to follow up
the groundbreaking
12 Years a Slave with
a remake of a 1980s
television crime drama,
sparks were always
going to fly. Giles
Hattersley meets the
women of Widows.
Photographs by Arthur
Elgort. Styling by
Patrick Mackie
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I
OPPOSITE: VIOLA
WEARS SILK DRESS,
£1,850, GIORGIO
ARMANI. FEATHER
HAT, £4,620, ERIC
JAVITS. DIAMOND
EARRINGS, PRICE ON
REQUEST, BULGARI
164
t is an electric-blue-skied morning in Manhattan when
the cast of Widows (surely this year’s most anticipated
cinematic thriller) assemble in a white, sun-flooded
photographic studio high up in a skyscraper overlooking
the city. It is a scene straight out of a 1980s media fantasy:
racks of sumptuous monochrome fashion line the walls and
an indecently populated army of assistants buzz about like
gorgeous worker bees, while Aretha Franklin’s “Ain’t No Way”
plays. “Perfect,” cries Arthur Elgort, the 78-year-old veteran
photographer, as the four stars, in various stages of Hollywood
dominance and ascent, line up for his camera against a
backdrop straight out of The Vanity Fair Diaries.
Yet something else is afoot. Despite the intoxicating
throwback glamour, there are several fresh and pleasing
elements about today’s shoot for Vogue. Firstly, we are here
to celebrate Steve McQueen’s follow-up to 12 Years A Slave,
the British auteur’s 2013 Oscar-sweeping opus that was hailed
as a modern masterpiece and credited with tilting the axis
of black representation in cinema this decade. How on earth
do you follow that? “Carefully,” the Turner Prize-winning
artist turned Tinseltown player tells me. And yet his next
move is anything but. Widows, his fourth feature, is the awards
season’s most extravagantly plotted, politically labyrinthine,
imaginatively violent, Scorsese-sprinkled thrill ride – the four
leads of which happen to be women. Though “happen” is not
the word. That they are women is the foundation on which
McQueen has built his arthouse-meets-blockbuster moment,
reinventing what a mainstream “action” film can look like
– and what it can achieve emotionally.
Which isn’t to say Widows doesn’t come with a fabulous
old-school hook, courtesy of Lynda La Plante and her adored
1980s television hit of the same name. The titillating
proposition is that when a robbery goes south for four sinister
career criminals, their wives and girlfriends must band together
to finish the job. The action has been relocated from grimy
Thatcher-era London to an equally foreboding present-day
Chicago. And as for the cast… Oh my! Viola Davis (cinema’s
current queen of the close-up, whose ability to flit between
contrary emotions in a single shot places her in a pantheon
of actors that includes Meryl Streep and Daniel Day-Lewis)
leads proceedings as Veronica, wife of criminal-in-chief Liam
Neeson, in a role in which sex, grief and knowing your way
around an assault rifle collide head on. She is sublime.
Naturally, the 53-year-old principal arrives today in chameleon
mode, looking almost confusingly youthful with her hair
wrapped up in a scarf. “Excuse me,” she says bobbing up and
down as she shakes my hand, “I’ve got a bag of wigs under my
arm.” Action star Michelle Rodriguez, 40, who, thanks to Avatar
and The Fast and the Furious franchise, ranks among Hollywood’s
highest-grossing actors, makes a beeline for her. “Hey V!”
she cries, before moving on to a 10-second hug with Cynthia
Erivo – the 31-year-old Brit who won a Tony for The Color
Purple and is making her move to the big screen. Quieter
than the others is Elizabeth Debicki, 28, the young Australian
actress best known for playing Hugh Laurie’s lover in
television spy hit The Night Manager. “I’m a lazy ex-ballerina,”
she whispers to me after Elgort asks her to dance about the
studio for his camera. “I haven’t taken a class in four years.”
“During casting I only thought about who was best to play
each individual character,” says McQueen. “There was this
energy when you combined these four, though. The story is
about women coming together in a hard situation, and whatever
their differences – be they ‘racial’ or sociological – they have to
work that out and become a team.” Mission accomplished. As
they assemble today, they look like a female supergroup about
to break into a rousing ballad on the theme of anti-uniformity.
Standing at more than 6ft 5in in her heels, Debicki seems from
another planet to her co-stars who, in age and energy, scarcely
resemble one another, either. “I love the concept of a group of
women,” says Davis, whose conversational tone gambols between
sweet and self-effacing and thundering gravity. “Too often we
are told to see each other as the enemy, like crabs in the barrel.
But not this time.”
Safe to say, Widows is not Ocean’s 8. With a script by
McQueen and thriller-scribe-du-jour Gillian Flynn (Gone
Girl), it was forged in the Hollywood system, so is heartracing and sexy, yet so much more is at play. They filmed in
Chicago last year, joined by Neeson (“my big ol’ lips on >
ARTHUR ELGORT; 20TH CENTURY FOX/MERRICK MORTON
Action: left,
from top, Viola
Davis as Veronica;
Widows director
Steve McQueen
talks the actress
and her on-screen
husband, Liam
Neeson, through
a scene; and
Michelle Rodriguez
as Linda
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000
ABOVE: ELIZABETH
WEARS SATIN-CREPE
JUMPSUIT, £1,060,
MAX MARA. SHOES,
£525, STUART
WEITZMAN. CUFF,
£235,00. RINGS: ON
LEFT LITTLE FINGER,
£31,000. ON MIDDLE
FINGER, £32,100.
ALL CARTIER. ON
LEFT INDEX FINGER,
£8,400. ON RIGHT
LITTLE FINGER, PRICE
ON REQUEST. ON
RIGHT INDEX FINGER,
PRICE ON REQUEST.
ALL TIFFANY
166
his li’l thin Irish lips,” laughs Davis) and Colin Farrell. The
latter is on creepily excellent form as a politician of Irish
descent whose family, led by Robert Duvall’s rage-filled
patriarch, rule the local district. He enters the fray when
the millions go missing, while Daniel Kaluuya haunts
proceedings as the single most terrifying screen heavy since
Joe Pesci in Casino.
The most exciting element, however, is why four nominally
sane women, with jobs, children and lives, plot a robbery.
“Wholly driven by desperation and grief,” Davis says, instantly.
Erivo, whose extraordinary physique, born of a ruthless gym
schedule, made her the ideal fit for Belle, the runner/driver
of the team, agrees. “It’s not trying to be a fad movie about
women who happen to do a heist,” she says. “It isn’t flowery,
it isn’t polite.” Domestic violence, prostitution, chilling familial
relations and motherly love all conspire to take the women
to what Debicki – who plays Alice, a fascinatingly layered
update on the gangster’s moll trope – describes as “that point
where you understand the choices being made”.
In fact, McQueen takes his leads to a point of reinvention
rarely seen at the multiplex. Rodriguez, high priestess of the
blockbuster, kept turning down the role of Linda, an
impoverished and abandoned mother of two, because she
refuses to play weak women. “That’s the epitome of
everything I despise,” says the star, who is both deeply
charismatic and wildly intense. “The horror of having your
security and your life just ripped out from under you, I hate
it. It’s the thing about poverty – coming from nothing, as I
have – I’ve always been repulsed by it.” Yet McQueen, who
had to “literally beg” her to accept the part, spotted a
previously untapped range. “And I’m like, ‘Michelle, you
need to look at this. Why does it make you so uncomfortable?’”
ARTHUR ELGORT; 20TH CENTURY FOX/MERRICK MORTON
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“I LOVE THE CONCEPT
OF A GROUP OF
WOMEN,” SAYS VIOLA
DAVIS. “TOO OFTEN
WE ARE TOLD TO
SEE EACH OTHERAS
THE ENEMY, LIKE
CRABS IN THE BARREL.
BUT NOT THIS TIME”
The answer? “My mother was that woman,” she says, shaking
her head. The performance is devastating.
On set, all of the women were dealing with personal
demons. Again, Davis breaks it down: “Every once in a while
a role helps you address the thing about yourself you always
felt uncomfortable with,” she says. “Elizabeth being tall and
awkward growing up and always feeling like that was not a
plus; Michelle feeling that femininity thing that she’s always
rejected, but then there’s a part of her that’s so deeply
vulnerable; and Cynthia, you know, just feeling…” she pauses.
“Because we’re two black girls, you know, we feel a lot of
things. Always labelled strong and almost ultra-masculine
and not pretty. It’s all of those things that we have to make
peace with – we have to slay, like a dragon.”
Pre-filming, after a long debate on the phone, during which
McQueen hung up on her a couple of times, Davis agreed to
go wigless on screen; Debicki made her peace with 5in heels
and micro-skirted Hervé Leger bandage dresses; Michelle cried
and cradled her on-screen children; and Cynthia embraced
her strength. “He’s an alchemical marriage between man and
woman in one man,” Rodriguez raves of her director. Or, as
Davis has it, with a pitch-perfect eyebrow raise: “Steve is very
picky.” According to Debicki, “he’s the soul terminator”. There
is much industry talk that Widows might be the Australian
actress’s “Lupita moment” (McQueen directed a then unknown
Lupita Nyong’o to a Best Supporting Actress Oscar), but she
bats away the rumours. Any of the women could bag one. “I
mean, we could not be more varied in who we are,” says Debicki.
“Where we come from, how we look, how we sound, our senses
of humour. Then you put us together with Steve as the
conductor,” she says, smiling, “and it’s a beautiful thing.” Q
Widows is released in cinemas on November 16
Above, from top:
Steve McQueen
on set with, from
left, Rodriguez,
Elizabeth Debicki,
who plays Alice,
and Davis; Cynthia
Erivo as Belle; Jacki
Weaver, left, in a
scene with Debicki;
preparing to film
a church scene
167
ARTHUR ELGORT
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OPPOSITE: CYNTHIA
WEARS LEATHER JACKET,
TO ORDER. LEATHER SKIRT,
£13,130. MARY-JANES, £665.
BERET, £535. EARRINGS,
£395. ALL CHANEL.
THIS PAGE: MICHELLE
WEARS DINNER SHIRT,
£1,400, GIORGIO ARMANI.
KNICKERS, £160, ERES.
NECKLACE AND RING, PRICE
ON REQUEST, TIFFANY.
FOR STOCKISTS, ALL PAGES,
SEE VOGUE INFORMATION
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The
glamorous
life
EVENING GLOVES ARE
BACK – ADORN YOURS
WITH SPARKLING JEWELS
FOR MAXIMUM DRAMA.
VELVET DRESS WITH BOW
DETAIL, £3,550. FELT HAT
WITH FEATHER, £705.
BOTH GUCCI. GLOVES,
FROM A SELECTION, SAKS
POTTS. DIAMOND AND
AQUAMARINE EARRINGS.
DIAMOND EAR CUFF. BOTH
PRICE ON REQUEST, MING
JEWELLERY. HEART-SHAPED
DIAMOND BRACELET.
YELLOW-DIAMOND
CUFF. BOTH PRICE ON
REQUEST, MOUSSAIEFF.
HAIR: ANTHONY TURNER.
MAKE-UP: HIROMI UEDA.
NAILS: ADAM SLEE. SET
DESIGN: SUZANNE BEIRNE.
SET BUILD: LOUIS GIBSON.
PRODUCTION: LAURA
HOLMES PRODUCTION.
DIGITAL ARTWORK:
OUTPUT. MODEL: VITTORIA
CERETTI. WITH THANKS
TO SPRING STUDIOS
COCKTAIL SHAKER BY ASPREY. TROLLEY BY ATKIN AND THYME
This season’s take on afterdark dressing is big on style.
From upsize – and upscale –
proportions to saturated
silks, ’80s logos and liquid
gold… there are no half
measures. A word of advice:
be unapologetic in your
approach. Photographs
by Alasdair McLellan.
Styling by Venetia Scott
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FLOWERS BY LISA BRITTON FOR FLORA STARKEY
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EXAGGERATED TAFFETA
SLEEVES ADD WHIMSICAL
CHARM TO A VELVET
PLAYSUIT. LOOK TO
BIENEN-DAVIS’S SWAROVSKISCATTERED HANDBAGS FOR
THE PERFECT ADD-ON.
OPPOSITE: PLAYSUIT, £670,
PHILOSOPHY DI LORENZO
SERAFINI. LEATHER BELT,
SOLD WITH DETACHABLE
PURSE, £510, TOD’S. BAG,
FROM £2,350, BIENEN-DAVIS.
GOLD AND DIAMOND
WATCH, £27,200, CHANEL
FINE JEWELLERY.
DIAMOND RING, £22,000,
JESSICA MCCORMACK.
MARC JACOBS’S ROOMY
PETROL BLUE TROUSERS
BOAST GENEROUS POCKETS
TO BOOT. BIG TIME
PRACTICALITY.
THIS PAGE: WOOL COAT,
£750. SILK BLOUSE, £685.
LEATHER TROUSERS,
£1,315. BELT AND SHOES,
FROM A SELECTION.
ALL MARC JACOBS. LEATHER
GLOVES, £115, MAX MARA.
GOLD EARRINGS, PRICE
ON REQUEST, GRIMA.
LUGGAGE CASES,
FROM A SELECTION,
LOUIS VUITTON
173
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TURN BEING A CAT LADY
INTO A FULL FASHION
STATEMENT, AND PROUDLY
PROCLAIM YOUR AFFINITY
FOR FELINES WITH MARNI’S
PURRING COAT.
OPPOSITE: TWILL COAT,
£2,500. SHEER POLONECK,
£690. BOTH MARNI. CLUTCH,
£1,305, ALESSANDRA RICH.
PEARL AND DIAMOND
EARRINGS, £8,000. PEARL
AND DIAMOND RING, £5,100.
BOTH CHANEL FINE
JEWELLERY. MORGANITE
AND DIAMOND RING, PRICE
ON REQUEST, GRIMA.
YOUR CRYSTAL EARRING
MEMO: GO BIG OR GO HOME.
THIS PAGE: WOOL-CREPE
DRESS WITH RUFFLES,
FROM £2,500, GIVENCHY.
LEATHER BOOTS, £574,
VIVETTA, AT FARFETCH.
COM. EARRINGS, £205,
ALESSANDRA RICH,
AT NET-A-PORTER.COM.
DIAMOND AND SAPPHIRE
RING, ON MODEL’S MIDDLE
FINGER, PRICE ON
REQUEST, NIQUESA.
DIAMOND AND SAPPHIRE
RING, ON MODEL’S RING
FINGER, PRICE ON
REQUEST, JESSICA
MCCORMACK
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NOTHING SIGNIFIES
LUXURY QUITE LIKE
A PUCCI COAT – SO
PILLOWY SOFT, YOU’LL
WANT TO WEAR IT TO BED.
QUILTED COAT, £2,865.
EYE MASK, £115. BOTH
EMILIO PUCCI. AQUAMARINE
AND DIAMOND EARRINGS,
PRICE ON REQUEST,
MING JEWELLERY
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ABANDON COLOURWHEEL RATIONALE:
CLASHING LILAC LEATHER
AGAINST MINT CHIFFON
IS A PRIME EXAMPLE
OF BOLDLY EMBRACED
GOOD TASTE/BAD TASTE.
THIS PAGE: JACKET, £2,605.
TWEED SKIRT, £760.
CHIFFON SCARF, £145.
MOHAIR SCARF, £210.
PATENT-LEATHER SHOES,
£550. SOCKS, £145. BAG,
£1,330. ALL MIU MIU.
EMERALD AND AMETHYST
EARRINGS, £18,000,
NIQUESA. AMETHYST RING,
PRICE ON REQUEST, GRIMA.
ROSE-GOLD AND DIAMOND
RING, £1,340, MESSIKA BY
GIGI HADID. YELLOW-GOLD
AND DIAMOND RINGS,
FROM £2,250 EACH,
ARA VARTANIAN.
WEAR YOUR BRAND ON
YOUR SLEEVE (AND
EVERYWHERE ELSE) FOR
A NOSTALGIC REVIVAL
OF 1980S PROSPERITY.
OPPOSITE: TRACK JACKET,
£445. TRACK PANTS, £375.
BOTH ESCADA. POLONECK
BODY, £510, ALAIA, AT
NET-A-PORTER.COM.
LEATHER BOOTS, £725,
EMANUEL UNGARO
BY MALONE SOULIERS.
GOLD EARRINGS, PRICE ON
REQUEST, MING JEWELLERY.
DIAMOND RING, £22,000,
JESSICA MCCORMACK.
GOLD CUFF, £13,100,
PIPPA SMALL
178
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MINI ADVENTURE: SAINT
LAURENT’S INKY BLACK
EXEMPLAR INSISTS YOU
BREAK CURFEW.
OPPOSITE: WOOL BUSTIER
DRESS, £2,855. EARRINGS,
£520. ENAMEL AND CRYSTAL
BRACELET, £1,040. ALL
SAINT LAURENT BY
ANTHONY VACCARELLO.
DIAMOND SABRE RING,
£12,000, SHAUN LEANE.
STACKING RINGS, £5,990,
FOR SET, ANNOUSHKA.
ADD A HINT OF
VIBRANT EYESHADOW
TO COMPLEMENT A
GLAMOROUS, METALLIC
EVENING DRESS. APPLY
YSL’S COUTURE MONO
EYESHADOW IN CAFTAN,
£25, FOR A DASH OF
VIOLET POWDER.
THIS PAGE: EVENING GOWN,
£4,500, RALPH & RUSSO.
CLUTCH, FROM £2,148,
BIENEN-DAVIS, AT
MATCHESFASHION.COM.
GOLD AND DIAMOND
EARRINGS. YELLOWSAPPHIRE AND
DIAMOND RING.
GOLD AND DIAMOND RING.
GOLD AND SAPPHIRE RING.
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CLOSE
KNIT
THE HOUSE OF
MISSONI IS
RENOWNED FOR
TWO THINGS: ITS
COLOURFUL ZIGZAG
KNITWEAR AND ITS
TIGHTLY WOVEN
MATRIARCHY.
ANDERS CHRISTIAN
MADSEN MEETS
THE CHARISMATIC
CLAN AT HOME.
PHOTOGRAPHS BY
DANILO SCARPATI.
STYLING BY
GIANLUCA LONGO
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Meet the Missonis: from
left, Angela with her
daughters, Margherita
and Teresa, and mother
Rosita. Hair, make-up
and nails: Rosanna
De Marco, Elena Pivetta,
Eri Umetsu, Marta
Vetere, Cristina Zanatta
000
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A
n hour on the autostrada out of Milan and into
the Lombardian countryside, through a tiny
village, across a quiet field and past a humble
chapel lies Angela Missoni’s modernist villa.
Stepping inside its cool stone-clad spaces, filled with colourful
glassware, artworks and textiles, trilling Italian consonants
and passionate laughs can be heard coming from the garden.
Beyond the terrazza with views that stretch into the hills
overlooking Lake Varese, the Missoni family is assembled
on the sprawling lawn, wearing house knitwear and looking
like multicoloured berries strewn across a very green cake.
In a fashion dynasty that truly lives the way it dresses,
Missoni garden parties are legendary. “Laid-back, comfortable,
beautiful but easy-going
clothes. It says a lot about
the lifestyle,” Margherita
Missoni, 35, reflects, cosied
up on a cushion-scattered
rattan sofa. Angela’s eldest
daughter, she married in the
garden in 2012, following
a ceremony officiated in
the little chapel leading up
to the property’s gates and
only minutes away from
her grandmother Rosita’s
residence, where garden
parties became a tradition
in the 1960s.
Today, four generations
of Missonis come together
184
here at the weekends, with Rosita, 86, at the head of the
alfresco table, sipping wine and lunching on a wealth of Italian
delicacies cooked to Angela’s precise instructions by the family
chef. This year, the gatherings are more relaxed than ever. “I
made it,” says Angela, 59, creative director of the brand her
parents founded, with a sigh of relief. In June, she sold a
minority stake to private equity firm FSI in a €70 million
deal. “I was proud as a daughter because my mum could see
that this company has a future,” she says. “I made everybody
agree on this project and now the third generation can look
to the future in a positive way. We hope that in five years we
can go public.” In this garden scenario, where women’s voices
easily overpower male ones, the mother-daughter dynamic
that makes the Missoni world go round is palpable. “Everyone
thinks we’re all girls in the family but actually there are more
boys. They’re just more discreet,” says Teresa, 30. Angela’s
youngest daughter, she gave birth to a boy, Zeno, in 2017.
“My grandfather always said to whoever was pregnant,
‘Let’s hope it’s a girl,’” her sister Margherita – herself the
mother of two young boys, Augusto and Otto – recalls. “In
a certain way, I am a bad example,” Rosita quips. The original
brains behind the business, she founded the company as a
sportswear label with her late husband, former Olympic
athlete Ottavio Missoni, known as Tai, in 1953, with four
sewing machines. It is now a £130 million fashion empire,
and under the direction of Angela, who took over 20 years
ago and brought in Margherita in 2010, first to oversee
accessories and then licensing and childrenswear – though
she is no longer officially involved with the business. Does
it mean something different to be a woman and a mother in
Margherita and her younger brother, Francesco,
with his English bulldog (top left). Angela’s villa
is “filled with colourful glassware, artworks
and textiles”, including these pots made
from vintage glass lampshades (left), and
personalised Stefano Giovannoni Rabbit
Chairs, covered in a special coating by
artist Alessandro Roveda (above)
THE FAMILY WEARS MISSONI, THROUGHOUT. DANILO SCARPATI
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the Missoni family than it does to be a man? Margherita
laughs heartily for quite a while. “Yes, it does indeed. It’s
definitely a matriarchy.” Are the expectations greater for the
girls? “Maybe,” she reflects. “If you’re a girl you’re more
reasonable, you’re able to understand; it’s a given. They don’t
question the fact that we’ll be able to do something.”
In the distance, Margherita’s brother, 33-year-old
Francesco (he authored The Missoni Family Cookbook,
published earlier this year, and
works for a Milan-based start-up
called Notomia), is negotiating
with his English bulldog, Johnny,
while his cousins, the three adult
sons of Angela’s late brother
Vittorio, are lounging round
rustic garden tables, reading
books and occasionally climbing
trees (in full Missoni, mind you).
“My father grew up with a
mother who would never wake
him, not to disturb him. Even
to go to school. She was telling
my mum, ‘Don’t wake them up.
They’re going to get nervous,’”
Angela recounts, asked about the
nonchalant free spirit that runs
in this family’s genes. “Since we
were kids we were free to do
anything we wanted,” Giacomo,
30, son of Vittorio, says.
Giacomo and his brother
Ottavio Jr, 32, are both in the
family business, while their
brother Marco, 28, is currently
working for Australian label
Deus Ex Machina, with plans to join Missoni in the future.
“My grandfather used to say, ‘You can do whatever you want.
You just have to be happy.’ This is our way of thinking,”
Marco explains. “He was also lazy,” Giacomo laughs. How
did he create all of this, then? “It’s Rosita! Rosita was the
business lady,” he asserts. “She made him express his best
ways,” Ottavio adds. All terribly handsome, you don’t get
the idea that these boys – so politely bohemian – spent their
late teens picking up girls in Lamborghinis the way the sons
of other Italian fashion dynasties might have. “Maybe on
motorbikes,” jokes Ottavio, a fervent biker. “They’ve been
brought up to follow their passions, whether it’s motorbiking,
cooking, snorkelling and scuba-diving, flying… but they’re
all grounded, it’s true,” Angela says of the next generation.
“Yes, I did renovate this beautiful house five years ago, but
they always had a normal life. We don’t need…” she pauses.
Stuff? “Come on…” Angela laughs, gesturing at the enormous
property. “This is a big luxury, of course. But we all know
that. They all have common sense.”
With new funding and a bid for international expansion,
what is the plan for the younger Missonis? “We’ll see
over the next years. I have two daughters, who are both
HERE,
WOMEN’S
VOICES EASILY
OVERPOWER
MALE ONES,
THE MOTHERDAUGHTER
DYNAMIC
THAT MAKES
THE MISSONI
WORLD GO
ROUND IS
PALPABLE
Top: Teresa with her son, Zeno.
Above, from left: Marco, Francesco
and Ottavio Jr with Rosita, Teresa
and Angela. Right, from top:
Angela’s nephews Ottavio Jr,
Marco and Giacomo
talented and passionate about
fashion. Having a partner, the new
generation will come in if they’re
needed and have the talent,” Angela
says. “ We have a world-known
reputation, which is so surprising
considering the way we live. The
name is much bigger than the
business,” Rosita admits. “We need
to expand. We need to build more
boutiques.” Angela recalls how, the morning after the
FSI deal was announced in June, Rosita telephoned her.
“She said, ‘I was thinking, do you remember 20 years ago,
Hermès only had one shop in Paris?’” laughs Angela.
“I said, yes, Mum, I remember!”
Q
185
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READ ALL ABOUT IT:
MOSCHINO’S COMIC-STRIP
SEPARATES HAVE
HEADLINE POTENTIAL.
THIS PAGE: FELT JACKET, £650.
FELT SKIRT, £480. BOTH
MOSCHINO. SHIRT WITH
LEATHER APPLIQUE, £560.
POCKET BELT, TO ORDER.
BOTH SYMONDS PEARMAIN.
SLEEVELESS ROLLNECK, £295,
WILLIAM & SON. FOOTLESS
LACE TIGHTS, THROUGHOUT,
£8, PAMELA MANN. SOCKS,
£13, BURLINGTON.
BROGUES, £150, GH BASS.
WHITE LACE, RING-PULL ZIPS,
STUDS, RUFFLES AND BEADS:
TACTILE TOUCHES SIGNAL
THE NEW COOL CONFIDENCE.
OPPOSITE: SWEATER, £435,
VIVIENNE WESTWOOD.
LACE BLOUSE, £1,070.
WOOL/COTTON TROUSERS,
£1,240. BOTH CHLOE.
BELT, FROM £290, ISABEL
MARANT. NECKLACE, £380,
MOSCHINO. DIAMOND-SET
WATCHES, FROM £5,900
EACH, BULGARI
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Dapper daze
AUTUMN’S ZIPPIEST
COLLECTIONS HAVE
A RETRO THREAD,
BUT HOW TO MAKE IT
FEEL SOPHISTICATED?
ROLL UP THE CUFFS,
LOAD UP WRISTS
AND NECKS, AND
EMBRACE THE NEW
TEXTURE CLASH.
PHOTOGRAPHS BY
THEO SION. STYLING
BY MAX PEARMAIN
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WELCOME THE RETURN
OF PUNKISH PLAID, ELEVATED
FOR AUTUMN WITH
BUTTER-SOFT LEATHER.
THIS PAGE: BLAZER WITH
LEATHER COLLAR, £8,665,
SAINT LAURENT BY ANTHONY
VACCARELLO. LEATHER SHIRT,
£2,450, ROBERTO CAVALLI.
ANGORA SWEATER, £510,
ALBERTA FERRETTI. WOOL
TROUSERS, £525, MICHAEL
KORS COLLECTION. LEATHER
BELT, £115, MARC CAIN.
BADGE, STYLIST’S OWN.
IF A SUIT FEELS STAID, TURN
TO BOTTEGA VENETA’S
TEDDY BOY ITERATION.
OPPOSITE: WOOL BLAZER,
£1,685. WOOL TROUSERS, £775.
BOTH BOTTEGA VENETA.
CASHMERE SWEATER, £495,
PRINGLE OF SCOTLAND.
COTTON SHIRT, £375,
MARGARET HOWELL.
MOHAIR SOCKS, £145, MIU
MIU. LACE GLOVES, £75,
CORNELIA JAMES. KEY FOB,
£35, ASPINAL OF LONDON.
BADGE, STYLIST’S OWN
188
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IN GIORGIO ARMANI’S HANDS,
A SILVER METALLIC JACKET
BOASTS DAYLIGHT APPEAL.
NOTE HOW THE GENTLY
TAPERED SHAPE IS ELEGANTLY
ELONGATING.
THIS PAGE: IRIDESCENT
BLAZER, TO ORDER. COTTON
TROUSERS, £860. BOTH
GIORGIO ARMANI. COTTON
TOP, £570, SYMONDS
PEARMAIN. MALACHITE AND
DIAMOND WATCH, £6,000, DIOR.
CARNELIAN AND DIAMOND
WATCH, £11,700, CHAUMET.
KEY FOBS, AS BEFORE.
BRING BACK THE EDWARDIAN
RUFF, SAYS CHANEL – BUT
MAKE IT MODERN WITH BOYISH
CHECKED TROUSERS.
OPPOSITE: VELVET TUXEDO
JACKET, £4,395. COTTON
BLOUSE, £1,345. BOTH CHANEL.
ROLLNECK, £180, PHILOSOPHY
DI LORENZO SERAFINI.
COTTON SHORTS, £570.
POCKET BELT, TO ORDER.
BOTH SYMONDS PEARMAIN.
BROGUES AND
GLOVES, AS BEFORE
190
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MICRO-CRIMPED, VOLUMINOUS
HAIR, CUT IN A NON-UNIFORM
STYLE, IS THE PERFECT
COMPLEMENT TO THIS
SHAPE-SHIFTING TREND.
KEEP IT IN CHECK WITH
JOHN FRIEDA’S LUXURIOUS
VOLUME FOREVER FULL
HAIRSPRAY, £5.99.
OPPOSITE: WOOL BLAZER,
£1,340. SILK SHIRT, £545.
WOOL TROUSERS, £825. ALL
SALVATORE FERRAGAMO.
POLONECK, £155, JOHN
SMEDLEY. MOHAIR
SOCKS, £145, MIU MIU.
ALWAYS ON TIME: LOAD
WRISTS WITH CLASSIC
CARTIER WATCHES AND
THROATS WITH FACE-FRAMING
KNITWEAR FOR A LOOK THAT’S
LUXURIOUSLY MAGNETIC.
THIS PAGE: ROLLNECK
SWEATER, £1,700, ERMANNO
SCERVINO. COTTON BLOUSE,
FROM £290, ISABEL MARANT.
APPLIQUE COTTON SKIRT, £570,
SYMONDS PEARMAIN. GOLD
WATCHES, FROM £29,900 EACH.
STEEL AND DIAMOND WATCH,
£7,950. ALL CARTIER.
BADGE, STYLIST’S OWN
193
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THE NEXT GENERATION
OF SUITS IS LOUD AND PROUD
– JUST ASK DOLCE & GABBANA.
OPPOSITE: GREEN JACQUARD
JACKET, FROM £2,200. COTTON
SHIRT, FROM £450. JACQUARD
TROUSERS, FROM £810.
ALL DOLCE & GABBANA.
KEY FOB, £35, ASPINAL OF
LONDON. SOCKS AND
BROGUES, AS BEFORE.
CHINA-DOLL LIPS
ARE BEFITTING OF THIS
DREAMLIKE BEAUTY LOOK.
RECREATE WITH A SMUDGE OF
PINK ON THE CENTRE OF LIPS
WITH L’OREAL PARIS COLOR
RICHE GOLD OBSESSION
LIPSTICK IN PINK GOLD, £6.99.
THIS PAGE: BLAZER, £1,970.
CASHMERE/SILK TOP, £875.
LEATHER JEANS, £2,230.
ALL GUCCI. HAND-KNITTED
SWEATER, £2,650, MICHAEL KORS
COLLECTION. BADGE, STYLIST’S
OWN. FOR STOCKISTS,
ALL PAGES, SEE VOGUE
INFORMATION. HAIR: LUKE
HERSHESON. MAKE-UP: HIROMI
UEDA. NAILS: ADAM SLEE.
PRODUCTION: REP LTD. DIGITAL
ARTWORK: HEMPSTEAD MAY.
MODEL: JEAN CAMPBELL
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Stella Tennant by Juergen Teller,
backstage at Helmut Lang s/s 1994.
Opposite, top section, clockwise
from left: Rosemary Ferguson by
Corinne Day for The Face, June 1992;
Tennant in John Galliano for
American Vogue; Lorraine Pascale,
styled by Edward Enninful, on the
cover of i-D, July 1991; Tennant
backstage with Helmut Lang; Kate
Moss and Rosemary Ferguson in
The Face, June 1992; Kirsty Hume
walks at Karl Lagerfeld’s s/s ’97
show. Centre: Pascale inside i-D’s
July 1991 issue. Bottom section,
clockwise from left: Ferguson at
Calvin Klein a/w ’94; Moss on the
cover of Vogue, March 1993; Hume
at Glastonbury for a 1998 issue of
Vogue; Pascale walking in
Katharine Hamnett’s s/s ’93 show;
Ferguson – still in Vogue in 2002;
Moss at Calvin Klein s/s ’97
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A
MODEL
CAREER
They were the impossibly cool
British girls who, in the ’90s, changed
the face of fashion. Two decades
later they’re shaking up a new realm:
business. By Harriet Quick
P
laying the food equivalent of
Desert Island Discs, Rosemary
Ferguson nominates eight
essentials. “Nutri UltraClear
powder – great for shakes – Pukka tea,
oats, a carrot and an apple, brownrice spaghetti, a buckwheat loaf, and
almond or cashew butter,” says the
43-year-old thoughtfully, sipping
green tea in Soho’s Quo Vadis.
The former catwalk star, who came
into the fashion spotlight 25 years ago
as one of a generation of fun-loving
super-waifs, is now a proud nutrition
nerd. She started retraining as a >
Top row, from left: Hume on
the cover of November 1994’s
W magazine; Tennant and Moss
in Vogue (in 1997 and 1996,
respectively). Second row, from
left: Tennant at Gucci a/w ’97;
Pascale walks at Karl Lagerfeld
ready-to-wear in 1993; Nicolas
Ghesquière and Tennant at
Balenciaga in 2003; Moss and
Tennant cover Vogue (August
1994 and December 1997,
respectively). Left: Lagerfeld
and Tennant at Chanel couture,
July 1996. Below: Ferguson
with photographer David Sims
in New York, 1995
“IT WAS A FANTASTIC TIME.
WE ALL GREW UP TOGETHER.
THE SHOOTS WERE OFTEN
REALLY SPONTANEOUS”
KATE MOSS
naturopath and nutritionist almost 10
years ago, qualified seven years ago and
practises from a clinic in Harley Street.
Her patients go to her seeking
advice, and wisely so. When it comes
to reinvention, Ferguson – who was
part of the loose-knit group of ’90s
models known as the London Girls –
has become a master of the art. In fact,
they all have. Kate Moss, Stella Tennant,
Lorraine Pascale, Kirsty Hume…
examine the career of almost any eradefining British beauty of the 1990s and
her path will lead to career recalibration
and entrepreneurship. Back then, the
women were known for their diverse
and individualistic take on glamour and
a DIY sense of creativity. Two decades
on, the same attributes still flourish in
different ways. Although all of them
continue to model to varying degrees,
it seems that in one’s forties, smart
business-minded personal fulfilment
has become the name of the game.
Moss – ever the icon – now runs Kate
Moss Agency (KMA), her eponymous
model and talent agency, while Tennant
seized upon her love of the outdoors
and teamed up with lifelong friend
Isabella Cawdor to become co-creative
director of the adventure-wear brand
Holland & Holland (owned by Chanel).
Hume relocated to rural California,
where she is in the throes of establishing
her aromatherapy-inspired beauty
brand. Lorraine Pascale, meanwhile, is
a cookery maestro, author and television
presenter both here and in America.
Of course, the wisdom you accumulate
when you go from a twentysomething
to a fortysomething inspired the women
to diversify. As does the bald fact that
modelling has traditionally been a
career with a sell-by date. “I’ve probably
experienced most scenarios in the
industry, so can definitely pass on advice
about what needs to be done and what
doesn’t,” says Moss, 44, from her offices
in Soho. She set up the Kate Moss
Agency two years ago, representing a
tight roster of young models (including
Elfie Reigate, Ferguson’s 18-year-old
daughter – bonds run deep for some of
the London Girls – and Louis Baines),
as well as looking out for fashion
opportunities for the likes of Gwendoline
Christie and Rita Ora. “We encourage
the talent to be true to themselves, and
always involve them in the decisions;
it’s their career and so they should have
a voice,” she says, in full exec mode.
These days, Moss divides her time
between homes in north London and
the Cotswolds, as she raises her teenage
daughter, Lila, and attends to her own
still-stellar modelling career. But rewind
20 years, and early mornings did not
involve the school run. Ferguson laughs
as she recalls the life of the London Girls
in New York, hopping from the studio
to a premiere to an after-party, followed
by late-night margaritas in a West
Village bar and bacon butties with her
fellow Brits at dawn. “It was all a laugh
in the beginning,” said Moss in 1997.
“I started modelling because there was
nothing else to do in Croydon. I really
liked working with the photographers
– we would do a shoot, go on to a
nightclub and take the night bus home.”
They were collectively interested in
expressing “ordinariness”, and the pose
went hand in hand with Martin
Margiela’s outsize tailoring and Helmut
Lang’s vest dresses. “‘I think Rosemary
looks much better when she screws up
her face, blinks and there’s mascara
coming down her face!’ That’s what
Corinne would say to clients,” recalls
Ferguson about the iconic photographer
Corinne Day. “She was so singleminded.” Day had discovered her in
McDonald’s on Oxford Street, and
had initially mistaken her for a boy.
“I’m athletic with no boobs,” says
Ferguson. Today, the mother of three
– who is married to artist Jake Chapman
MILES ALDRIDGE; CRAIG MCDEAN; JUERGEN TELLER; TOM MUNRO; ARTHUR ELGORT; MIRRORPIX; GETTY IMAGES; DAFYDD JONES
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IRVING PENN; CORINNE DAY/TRUNK ARCHIVE
and lives in Oxfordshire – still relies on
a wardrobe of jeans, vests and her trusted
flip-flops, although tuxedos have
replaced dressy frocks.
For Lorraine Pascale, 45, the move
from i-D cover girl to culinary star is
complete. Having just returned from
filming Baking Championship, the
American reality TV show, she says,
“People do recognise me and ask, ‘Why
are you so mean about the cakes!’ I’m
like the Simon Cowell character on the
panel.” She then beams before adding,
“I’m now on a serious sugar detox.”
Motherhood (she was married at
22 and had her daughter, Ella, at 23)
slowed her modelling career, as jetting
off on location was no longer an option.
Enrolling at Leiths School of Food
and Wine in 2005 proved the turning
point. “I always used to worry about
what people thought,” she says of her
career switch. “But as you get older, you
realise people talk about you far less than
you think. You have to do you.” Pascale,
who was adopted and raised in foster
homes, is committed to helping >
Kate Moss and Lorraine
Pascale photographed by
Corinne Day for The Face,
February 1991. Above:
Kirsty Hume shot by
Irving Penn for American
Vogue, April 1997
000
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From top: Moss in
New York earlier this
year; Pascale in Ibiza
this summer; Hume in
Los Angeles in 2014
Right: Ferguson
in London in
January. Below:
Tennant for
Giorgio Armani
s/s 2016
Opposite:
Ferguson, in a
photograph taken
by Juergen Teller,
backstage in
Paris at Helmut
Lang s/s ’94
those who have experienced similar
adversity. She runs a series of interviews
on the subject on her website. “Sharing
stories is how we learn,” she says.
From being the silent stars of fashion
shoots and runway shows, the London
Girls have found second-career
fulfilment in roles that require invention,
leadership and business acumen. Moss
thinks it was coming of age in the 1990s
that really helped. “It was a fantastic
time to start in the industry,” she says.
“We all grew up together. The shoots
were often really spontaneous and a lot
less corporate than today. We were really
left to our own devices. That’s what
I am still inspired by today, being part
of a team creating amazing images,”
she says. That and the importance
of self-reliance. “I was keen to take
responsibility for my own career and
represent a diverse group of talent with
a small ‘hands-on’ agency.”
For Kirsty Hume, a tall, ethereal
blonde who grew up in Scotland, the
past few years have been about returning
to what was important to her prefashion. The 42-year-old rekindled her
passion for nature after having her
daughter, Violet, 14 years ago, and now
lives in Topanga Canyon outside Los
Angeles. “There was an extended tribe
of models – Shalom Harlow, Amber
Valletta, Carolyn Murphy, Stella
Tennant – we all grew up together,” says
Hume from the house she is currently
restoring with her husband. Once
a favourite of Donatella Versace and
Tom Ford, who shot with Steven Meisel,
she adds: “I’m not an urbanite. I need
to be in nature to be whole and happy.”
She studied aromatherapy at the Gaia
School of Healing and has educated
herself in the science of sustainability
to work on establishing her beauty and
wellness business, with products such
as Triple Goddess Bitters and Essence
of the Moon body oil. “Anything I create
has to be good for the earth. There’s so
much stuff out there and so much waste,
I don’t want to be another person
flogging a product to make a buck. It
needs to be as ethical as possible. I’ve
simplified over the years, and life is
slower,” she says, dreamily. Her style has
shifted, too. “Having worn so many
clothes that were not designed for
comfort, I like to be able to throw on
something easy. It translates as hippy-ish
dresses, which just work with the terrain
of Topanga. There are Awaveawake
plant-dyed dresses in my closet, Doen
and Ulla Johnson, and, of course,
vintage,” says Hume.
Others have stayed closer to home.
Tennant, the rangy aristocratic beauty
with her cropped hair and pierced nose,
became an ambassador for Chanel in
1996. Now 47, she has employed her
deep knowledge of fashion and what’s
needed for the great outdoor pursuits
(deep shooting pockets, storm collars
and walking shoes) into Holland &
Holland. “Everything should have a
function,” she says. She frequents the
manufacturers, mills and artisans on the
borders of her homeland of Scotland
to learn about tweed and knitwear
know-how, bringing her instinctive
style to a company that was founded in
1835. Tennant says her mission is to
make “lifelong” pieces for the wardrobe.
Beautiful and useful are her watchwords.
You could say the same of the London
Girls reinventing themselves with
pluck, brains and tenacity in an industry
that usually demands a lightning
turnover of faces. Their lesson? Pursue
what makes you happy.
Q
PHIL TAYLOR; GETTY; PETER LINDBERGH/VANTAGE NEWS
AND NOW...
JUERGEN TELLER
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I
HE’S GONE PLATINUM,
LAUNCHED A UNIVERSITY
SCHOLARSHIP
AND HAS HIS OWN
PUBLISHING IMPRINT.
GRIME SUPERSTAR
STORMZY IS THE
VOICE OF NOW, FINDS
TSHEPO MOKOENA.
PHOTOGRAPHS
BY JACK DAVISON.
STYLING BY NELL KALONJI
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LORO PIANA. HAIR: MARK MACIVER.
GROOMING: MARI OHASHI.
SET DESIGN: ALICE KIRKPATRICK
t’s a sticky late-summer afternoon, and grime artist Michael Omari – known to
most as Stormzy – has just spotted American rapper Eve across the room of the
Notting Hill members’ club in which we’re having lunch. “Is that..?” he begins,
before answering his own question. His face breaks into a grin as he turns his
attention back to the tricky business of folding his audaciously long legs under a
dining table nestled just a bit too close to his seat.
Three years ago it would have been highly unlikely that Stormzy would be casually
approached by a Grammy Award-winning star in a restaurant, and even less likely that
she would have recognised him (although, at 6ft 5in, he’s certainly hard to miss). But
when Eve clocks him, she gets up and walks over to congratulate him on “the Cambridge
thing. We’re all clapping for you,” she says, warmly, before making her exit.
“The Cambridge thing”, if you’re not already aware, is the scholarship Stormzy
announced in August, which will cover the tuition fees for two black undergraduates
attending Cambridge University. It’s just the latest facet to an astronomically successful
18 months for the 25-year-old from South Norwood, which have included his debut
album, Gang Signs & Prayer, breaking first-week album-streaming records and a
move into publishing with the launch of his own Penguin imprint, #Merky Books
(his first book, Rise Up, is out on November 1). Yes, he’s most famous for being the
exceptionally tall Londoner who blasted grime into the mainstream, but his ambition
– and influence – extend well beyond music.
On appearance alone, he’s impressive – though he screws up his face at the idea.
“Firstly, I’m not a model,” he says. Part of his charm rests in his blend of good looks
and absolute nonchalance about them. His deep-brown skin glows with the radiance
you’d expect from a 10-step blend of toners, essences and at least one hefty acid, while
his relationship with 24-year-old Radio 1 presenter and woman of the moment Maya
Jama is the physical manifestation of #couplegoals. For the generation coming of age
now, theirs is the most aspirational of all partnerships. Meanwhile, his fan base is fizzing
with anticipation for his follow-up album to Gang Signs (there is no release date as
yet). Safe to say, Stormzy’s got more than enough to pat himself on the back about.
But he isn’t one to brag. In person, he’s a tad reticent about our lunch today, sitting
back and calmly explaining: “When interviews go into print, a lot of times people
will paraphrase me, or they’ll pick the most corny thing I’ve said and blow it up.” He
chuckles drily while laying out how, “I can talk about some positive things that I’m
doing, and they’ll make it sound like I’m trying to run for mayor or something.”
Mostly, though, he starts off wary because “interviews and photoshoots and editorials
and that” distract from his work as a musician. Soon, once he’s settled in, it becomes
clear that as much as he can enjoy being the centre of attention, the press cycle can
feel like a distraction. Ambition, not a thirst for exposure, propels him from one goal
to the next. It’s the same drive that rests behind his ascent from underground MC
to crossover sensation (via half a billion global streams, more than 250 million YouTube
views and three top-10, platinum singles) to a global Brit, BET, GQ and Mobo
award-winning star; all while staying true to the kid from Croydon.
He talks in an almost constant flow, words streaming out of him at such a pace
that his double cheeseburger and chips go cold (though he makes quick work of
some crispy squid). We’re chatting about how he made his mark as an independent
artist, self-releasing his Brit Award-winning, platinum album on his #Merky Records
label. Its name derives from a slang term – loose translation: “disgustingly good” –
that Stormzy belted out on breakthrough 2015 hit Know Me From. It’s since become
his personal slogan, like a stamp pressed onto everything from his businesses to his
Instagram captions to the Penguin imprint. Look closely and you’ll even see it on
the zip pull of his personalised, grey Adidas tracksuit.
“Last year, my ambition for 2018 was that Merky needs to be this engine that’s
moving,” he says, pushing his hands forward like a car in motion. “It needs to be this
incredible, moving engine that’s putting on events, that’s linking up with brands, really
making its mark on the world.” Starting off without a major label just made sense
for a young black artist in his position, he says. “My whole thing is, ‘What’s the most
progressive, intelligent thing to do?’ I feel like in our generation, we did the whole
DIY, ‘getting your friend to be your manager’ thing out of necessity. We didn’t do that
for cool points.” It paid off: in January he announced a deal between #Merky Records
and Atlantic Records, a subsidiary of one of the three remaining major label conglomerates.
Being an all-round pop-culture figure wasn’t always the goal. As a child, living with
his mother and three siblings, he showed a flair for poetry. “When I was young, I very
much knew I could go to Oxford or Cambridge,” he says, with an aside that he doesn’t
mean to come across as arrogant. His early music touches on his secondary-school years,
selling marijuana, having to defend himself on street corners. He bristles at the >
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“YOU’VE
GOTTA
LIVE FOR
SOMETHING
WAY BIGGER
THAN
CELEBRITY –
THAT’S THE
WORST KIND
OF DRUG”
memory of an interview in which a journalist wanted to focus
on how he’d been stabbed. “I was on the roads,” he says of
street life. “Many things happen. I did this, I did that, I got
stabbed a couple of times. But that’s a blip in my story.”
Here’s the long and short of it: he performed well in school,
earning six A*s at GCSE, and was earmarked by teachers as
a skilled linguist. But, feeling uninspired, he literally walked
away from his studies in the middle of an AS-Level exam
and ended up on an apprentice course, then as project manager
at an oil refinery. “I was like, ‘Cool, if we’re gonna talk about
“You got stabbed?” I also f**king smashed my GCSEs – wanna
talk about that? Or let’s talk about that time when I flipping
got one of the top apprenticeships in the country.’ They don’t
want to go into the detail of that. But why? That’s boring,
that’s boring,” he repeats the word four more times, his hands
waving with each syllable. “That’s not the story.”
After Stormzy announced his Cambridge scholarship, people
flooded his Instagram with hundreds of messages, outraged
that the financial support he is offering is only available to
black students. Cambridge has itself said it can’t figure out
diversity “on its own” after a Financial Times investigation
revealed that six of the university’s colleges admitted only
10 black students between 2012 and 2016. According to
Cambridge’s overall admissions statistics for 2017, about
15 per cent of black applicants, versus 26 per cent of white
applicants, accepted a place they were offered.
Stormzy picks up his smartphone,
motioning opening angry DM after
DM. “The whole backlash – ‘You’re
racist; what about white people?’ – was
so strange,” he begins, his words slowing.
“It almost felt like an episode of Black
Mirror. It was very bizarre.” He pauses,
one of few moments of quiet as he
steamrolls through his thoughts. “It was
pretty upsetting as well. We’ve been
working on this for a year and a half, all
excited. All this build-up and then –
what?! I wasn’t expecting that. In the
first message I saw, this guy was like:
‘You stupid c**t, you racist.’”
Almost any move he makes triggers
a reaction. Headlines pick over the banal
moments – briefly unfollowing his girlfriend on Instagram; tweeting about
Love Island – just as they do seismic ones:
Stormzy sharing a photo of his front door
bashed in by police, who thought he was
robbing his own Chelsea flat, or tweeting
his disgust at a magazine that used his
image for a cover story on his struggles
with depression, without his knowledge.
As his public profile has grown, he hasn’t
filtered his behaviour. “I never said I’m
a role model; people picked me for that.
I’ve always said I’m a flawed human. I
use the C-word way too often, I can be
a bit ignorant sometimes. I park on
double yellows” – he smiles now – “and I don’t give a f**k.”
At the same time, he comes across as warm, open and
generous, and clearly someone who wants to use his influence
in places beyond the studio or stage. That presents a duality:
he’s “honoured to be a voice in my community” on one hand
and “just turned 25 and am human” on the other. Referencing
the “Theresa May, where’s the money for Grenfell?” line he
rapped during his emotional Brit Awards 2018 performance,
he’s “proud to do it and I almost know it’s my duty, as a young
black man coming where I come from. I want to be that person,
but I think that’s where a lot of my mental-health problems
come from: the flipside of knowing all of that and having the
strength and courage [to take a political stand].”
Celebrity inspires waves of both “extreme love and extreme
hate”, which Stormzy likens to an energy no one was designed
to cope with. To keep his head straight, he compartmentalises.
“Before, I was Michael who spat and made music. So, all this
other Stormzy stuff isn’t me. But with the music, Michael
and Stormzy have got something in common: me and Michael
still love music. There’s a certain…” He falters, starting again:
“Fame, celebrity, power, influence, they’re very daunting
things. Every time I talk to young artists, I say, ‘You gotta
live for something way bigger than celebrity – that’s the worst
kind of drug. You’ve gotta live for something more than the
Instagram and the flashing lights, otherwise you will lose
yourself. That’s the only thing that will keep you, you.’” Q
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РЕЛИЗ ПОДГОТОВИЛА ГРУППА "What's News" VK.COM/WSNWS
РЕЛИЗ ПОДГОТОВИЛА ГРУППА "What's News" VK.COM/WSNWS
РЕЛИЗ ПОДГОТОВИЛА ГРУППА "What's News" VK.COM/WSNWS
РЕЛИЗ ПОДГОТОВИЛА ГРУППА "What's News" VK.COM/WSNWS
РЕЛИЗ ПОДГОТОВИЛА ГРУППА "What's News" VK.COM/WSNWS
РЕЛИЗ ПОДГОТОВИЛА ГРУППА "What's News" VK.COM/WSNWS
РЕЛИЗ ПОДГОТОВИЛА ГРУППА "What's News" VK.COM/WSNWS
РЕЛИЗ ПОДГОТОВИЛА ГРУППА "What's News" VK.COM/WSNWS
РЕЛИЗ ПОДГОТОВИЛА ГРУППА "What's News" VK.COM/WSNWS
РЕЛИЗ ПОДГОТОВИЛА ГРУППА "What's News" VK.COM/WSNWS
РЕЛИЗ ПОДГОТОВИЛА ГРУППА "What's News" VK.COM/WSNWS
РЕЛИЗ ПОДГОТОВИЛА ГРУППА "What's News" VK.COM/WSNWS
РЕЛИЗ ПОДГОТОВИЛА ГРУППА "What's News" VK.COM/WSNWS
РЕЛИЗ ПОДГОТОВИЛА ГРУППА "What's News" VK.COM/WSNWS
РЕЛИЗ ПОДГОТОВИЛА ГРУППА "What's News" VK.COM/WSNWS
РЕЛИЗ ПОДГОТОВИЛА ГРУППА "What's News" VK.COM/WSNWS
РЕЛИЗ ПОДГОТОВИЛА ГРУППА "What's News" VK.COM/WSNWS
РЕЛИЗ ПОДГОТОВИЛА ГРУППА "What's News" VK.COM/WSNWS
РЕЛИЗ ПОДГОТОВИЛА ГРУППА "What's News" VK.COM/WSNWS
VOGUE’S TRAVEL COLLECTION
A Dream Amid Sea and Sky
Eagles Nest
Russell, New Zealand
admin@eaglesnest.co.nz +64 9 403 8333
This multi-award winning New
Zealand luxury hotel & retreat is
set within a 75 acre estate atop its
own private ridgeline ofering
spectacular views of the Bay of
Islands. Designed and furnished in
an eclectic international
contemporary style, where gardens
and lodgings blend into the natural
topography and foliage.
Colombian mountains and magic water
- a wonderful place to stay
Phuket’s Most Exciting & Stylish
Contemporary Resort
t +66 (0) 76 316 500
f +66 (0) 76 316 599
e book@twinpalms-phuket.com
w twinpalms-phuket.com
@bosko_guatape
Phone: +57 3015384885
info@bosko.com.co www.bosko.com.co
14,000 M2 PROPERTY • 1,000 M2 INFINITY POOLS • 7 PRIVATE VILLAS • 60 FULL-TIME STAFF
IG @THERESORTVILLA
THERESORTVILLA.COM
РЕЛИЗ ПОДГОТОВИЛА ГРУППА "What's News" VK.COM/WSNWS
VOGUE’S TRAVEL COLLECTION
28 Degrees is a private, luxury
guesthouse located in the
heart of Byron Bay. Perfect for
couples, the rooms offer an
oasis for intimate getaways.
The rooms are beautifully
designed to provide 5 Star
accommodation, steps away
from one of the world’s best
beaches. Every detail has
been considered - so kick off
your shoes and enjoy the
barefoot luxury.
@28degreesbyronbay
www.28byronbay.com.au
www.heritagehotel19.com
Tel. 00306974422275
info@villaelvina.com www.villaelvina.com
Xyloporta
Indulge yourself in an unforgettable
Mediterranean fairytale
T. +30 24274 40 900
info@elivihotels.com
www.elivihotels.com
Xyloportazakynthos
Tel. 07595024048 www.xyloporta.com
ADVERTISERS SHOULD CONTACT 020 7499 9080 EXT 3705 OR EMAIL CLASSVOGUE@CONDENAST.CO.UK
On The Waterfront
Heritage Hotel 19
Tel: +38521720027 info@heritagehotel19.com
РЕЛИЗ ПОДГОТОВИЛА ГРУППА "What's News" VK.COM/WSNWS
РЕЛИЗ ПОДГОТОВИЛА ГРУППА "What's News" VK.COM/WSNWS
РЕЛИЗ ПОДГОТОВИЛА ГРУППА "What's News" VK.COM/WSNWS
РЕЛИЗ ПОДГОТОВИЛА ГРУППА "What's News" VK.COM/WSNWS
Live the
King’s Cross
high life
2 bedroom apartments
from £1,425,000*
Live amongst the manicured
parks and gardens of King’s Cross,
with all the benefits of central
London on your doorstep.
Move into Fenman House today.
New show apartments
now open
020 7205 2082
fenmanhouse.co.uk
*Price correct at the time of going to press. Photography of apartment 141, top floor at Fenman House.
РЕЛИЗ ПОДГОТОВИЛА ГРУППА "What's News" VK.COM/WSNWS
РЕЛИЗ ПОДГОТОВИЛА ГРУППА "What's News" VK.COM/WSNWS
РЕЛИЗ ПОДГОТОВИЛА ГРУППА "What's News" VK.COM/WSNWS
РЕЛИЗ ПОДГОТОВИЛА ГРУППА "What's News" VK.COM/WSNWS
РЕЛИЗ ПОДГОТОВИЛА ГРУППА "What's News" VK.COM/WSNWS
РЕЛИЗ ПОДГОТОВИЛА ГРУППА "What's News" VK.COM/WSNWS
Life. Style.
An exclusive collection of residences
in Cap d’Antibes, the heart of the iconic
French Riviera
1 to 3 bedroom apartments and
4 bedroom penthouses all with private
access to residents’ spa, pool and fitness
centre from €587,500
Call us: +44 (0)20 3504 5639 #ParcDuCapLife parcducap.com
Live Life In Style
РЕЛИЗ ПОДГОТОВИЛА ГРУППА "What's News" VK.COM/WSNWS
DESIGNED
FOR THE
DISCERNING
Designed to reµect its illustrious, world
renowned location, Kingswood presents a
collection of beautifully appointed houses
and apartments just a mile from Ascot’s
prestigious racecourse. With a timeless
appeal for those who covet the height
of luxury, these homes boast a superior
speci´cation and expertly crafted interiors
in a secluded woodland enclave.
FOR FURTHER INFORMATION AND TO
VIEW OUR 3 & 5 BEDROOM SHOW HOMES
CALL 01344 566 812 | WWW.KINGSWOODBYMILLGATE.COM
Photography of Show home at Kingswood. Prices correct at time of print.
РЕЛИЗ ПОДГОТОВИЛА ГРУППА "What's News" VK.COM/WSNWS
BALTIMORE
TOWER
LONDON E14
Two magnificent 4 bedroom
duplex penthouses, each offering
2,622 sqft of superlative living
space with vast terraces providing
what must be amongst the most
dramatic panoramic vistas ever to
be seen in the Capital.
Interior design by Nicola
Fontanella of Argent Design.
Price on application.
Viewing by appointment
natalie@galliardhomes.com
020 8418 3730
Life at the top
with breathtaking views from dawn to dusk
A JOINT DEVELOPMENT BY
An award winning
tower designed by
Skidmore Owings
& Merril Inc (SOM)
РЕЛИЗ ПОДГОТОВИЛА ГРУППА "What's News" VK.COM/WSNWS
VOGUE ASKS
What’s the best thing to
listen to in the morning?
“Stevie Wonder, Tirzah [right]
or Radio 4 – because a bit of
chat can be soothing, even
though it makes me feel like
I’m turning into my mother.”
What perfume
should I try?
“Solstice by Björk
& Berries. It smells
clean and fresh, like
washing that’s just
come off the line.”
Björk & Berries
Solstice eau de
parfum, £59
What book should everyone
read? “Sassafrass, Cypress
& Indigo by Ntozake Shange,
which is a divine tale about
three sisters. It blew me
away in my early teens when
I first read it. I’ve passed
it on to my three daughters
and worthy friends.”
What would
Neneh Cherry do?
Advice on life and fashion from the Swedish singer and DJ
What’s the last piece of clothing you bought?
“A pair of camo shorts and a wicked army
shirt from a market stall. I’ve been wearing
them with a pair of backless Gucci slip-ons
that Mabel bought me – I like that
high/low vibe.” Slippers, £515, Gucci
I’m going out
dancing. What
should I wear?
“Something you
can grind down
in, or a dress
you can hitch
up, and wear
with trainers.”
What music should I put on while I’m
getting ready to go out?
“Otedola” by Dice Ailes. Skepta put me and
my daughter Mabel onto it when he came
back from Africa, and we’ve been listening
to it non-stop in the house ever since.
What’s your greatest luxury?
My Chanel handbag. Spiffs up the rags.
If you had to save one item of clothing from
a fire, what would it be?
My wedding dress – Azzedine Alaïa actually
sewed me into it. It was the first time I
remember not feeling like a funny girl, or
a too-old teenager, but like a woman.
Which trainers should I wear?
There are a lot of really great pairs around
but, being kind of old-school, I always fall
back to an Adidas Superstar.
What’s the best advice you’ve ever been given?
From my dad: don’t let ’em change you.
Where should I look for style inspiration?
The freshest things I see are on the street:
the way people combine their clothes.
It’s the details that make the difference.
What’s the best style advice you’ve learned?
After working with Judy Blame for so many
years: be fearless.
Your new album has a political bent: why
was that important to you?
I think it has to be. To be a human being
and to be alive in this world is political.
What can people do to make a difference?
Build dialogue rather than shutting
conversation down. Tune into your own
consciousness, then you’ll care about things
rather than sweep them under the carpet.
How do you stay positive when it feels like
the world is in turmoil?
With good people and good food. Music is
a powerful healer.
The beauty product you can’t live without?
My magic hair oil: I get it from the Cash &
Carry on the Golborne Road, and it keeps
my Afro hair happy and smooth.
Q
INTERVIEW: OLIVIA SINGER. PORTRAIT: WOLFGANG TILLMANS. STYLING: SIMON NICHOLAS GRAY.
NENEH WEARS SHIRT, MARTINE ROSE. FAMOUS/AVALON; REX/SHUTTERSTOCK
Who’s the best designer
to invest in now?
“Martine Rose. I wore
one of her pieces on
my new album cover.
I love the shape of
her clothes, and the
spirit of what she
does.” Jacket, £743,
Martine Rose, at
Matchesfashion.com
РЕЛИЗ ПОДГОТОВИЛА ГРУППА "What's News" VK.COM/WSNWS
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