Vogue

thehamishfiles

“I like extremes,”Todd Oldham told Vogue in 1992. “I can’t ARTS AND CRAFTS
imagine being in the middle of anything.” When I joined LEFT: A SUBLIME STAINED-GLASS WINDOW TRANSPLANTED FROM THE
the magazine that year, Oldham was New York’s designer BALLROOM OF TIFFANY’S MANHATTAN HOME AT THE MORSE MUSEUM.
du jour, celebrated for his kaleidoscopic prints and playful ABOVE: AN EVOCATION OF TIFFANY’S LIVING ROOM AT LAURELTON HALL.
embellishments for the retro-tastic Deee-Lite crowd. To
celebrate a gift of his archive pieces to the Rhode Island from Laurelton Hall, Tifany’s Long Island manse, after it
School of Design, their museum is hosting “All of Every- was devastated by ire in 1957—including the breathtaking
thing: Todd Oldham Byzantine chapel that the designer created for the 1893
Fashion” (April 8 World’s Columbian Exposition in Chicago, which helped
through September to establish the scion of the famous jeweler as the country’s
11), which Oldham great decorative-arts genius of the era.—HAMISH BOWLES
himself is designing, in
part, as an eye-popping
lower garden.

Finally, inding my-
self in Orlando, Flor-
ida, for the first time
(to train with soccer
supernova Alex Mor-
gan—see “Kick Off,”
page 254), I took the
opportunity to visit the Charles Hosmer Morse Museum
of American Art, a jewel box of Arts and Crafts treasures
with an emphasis on the hallucinogenically beautiful work
of Louis Comfort Tifany. The collection was assembled by
the Chicago heiress Jeannette Genius McKean and her hus-
band, Hugh F. McKean, and includes masterworks salvaged

HAMISH BOWLES True Colors

When I was at the English equivalent of
grammar school, my fellow schoolboys
plastered their bedroom walls with images
of a beaming Farrah Fawcett in a clinging red
singlet or the gurning Bay City Rollers in high-
waisted tartan trews, while I pinned up posters
of illustrated Vogue covers by Helen Dryden
and George Wolfe Plank from the First World
War era. Inspired by the chic special-edition
French magazines like Gazette du Bon Ton,
Condé Nast himself had transformed Vogue by
commissioning great illustrators to create
these covers. Following the escapist visuals of
the war years, Nast’s stable of artists reflected
the jagged Art Deco of the Jazz Age (the first
color photograph cover was Edward Steichen’s
image of a girl in a swimsuit brandishing a
beach ball, published in July 1932).

Now you can be your own Vogue artist with
Vogue Colors A to Z (Knopf), assembled by
our magazine’s very own Valerie Steiker.
Illustrator Cecilia Lehar has reduced the vivid
works of artists including Eduardo Benito,
Harriet Meserole, and Georges Lepape
to elaborate outlines so that you can allow
your own imagination to run amok—as
in this “D is for Dragon” by yours truly.—H.B.

VOGUE.COM



WOMEN:

NEW PORTRAITS

ANNIE LEIBOVITZ

Over four and a half decades, Annie Leibovitz has refined the art of
portraiture in images that are profound, provocative, and revelatory of the
times we live in. Her photographs for American Vogue and Vanity Fair,
and for books and exhibitions, have brought us an extraordinary range of
subjects from the most celebrated to the most humble. In “Women,” an
exhibition that opened at the Corcoran Gallery of Art in Washington, D.C.,
sixteen years ago, Leibovitz’s lens captured female Supreme Court justices,
senators, artists, athletes, maids, mothers, businesswomen, comedians,
actors, architects, and soldiers.

Amplifying that phenomenal body of work, Leibovitz, with exclusive
commissioning partner UBS, presents the 2016 traveling exhibition
“WOMEN: New Portraits.” Ten cities—London, Tokyo, San Francisco,
Singapore, Hong Kong, Mexico City, Istanbul, Frankfurt, New York, and
Zurich—are hosting the photographer’s response to changes in the roles
of women, presenting images from the original project alongside recent
subjects, all of whom touch our lives today.

“WOMEN: New Portraits”
The Presidio’s Crissy Field, 649 Old Mason Street, San Francisco, CA 94129

March 25 to April 17, 2016
Monday–Sunday 10:00 A.M.–6:00 P.M., Friday until 8:00 P.M.

www.ubs.com/annieleibovitz
#WOMENxUBS by #AnnieLeibovitz

VOGUE.COM 155V O G U E A P R I L 2 0 1 6

Misty Copeland,
ballet dancer,
New York City, 2015.





Sally Mann,
photographer,

Lexington,
Virginia, 2015.

Malala Yousafzai,

spokesperson for
the right of girls
to an education,
Birmingham,
England, 2016.



Sheryl Sandberg,
Chief Operating
Oicer of Facebook,
Menlo Park,
California, 2015.



Gloria Steinem,
writer, activist,
New York City, 2015.



EDITOR: MARK HOLGATE SE BAST I A N K I M. FASH I O N ED I TO R: KA R EN K A I SE R. HA I R, T I N A OUT E N; M A KEU P, B ENJAMIN PUCKEY.

Dutch VOGUE.COM

Master

DESIGNER RONALD VAN DER KEMP’S
FREE SPIRIT IS JUST WHAT FASHION
NEEDS RIGHT NOW.

R onald van der Kemp is
living proof that you can
buck the fashion system
and win. The Amsterdam-
based designer doesn’t do
runway shows. He negates
the idea of seasons, instead calling what
he does a wardrobe, with all that implies:
pieces resonant with personal choice; con-
tradictory impulses somehow all making
sense together. He very rarely buys fabrics,
relying instead on the found, the sourced,
the discovered (he was recently gifted
a trove stashed away in the archive of the
late Dutch couturier Frans Molenaar).
And yet. . . . “I hate the word sustainabil-
ity,” says van der Kemp, 51, one slate-gray
afternoon in late January in Paris, where
he is showing his newest garderobe during
the haute couture, “but there V I E W >1 6 8

A STAR EARNS HIS STRIPES
THE DESIGNER TURNS THE AMERICAN FLAG
INTO A COOL FASHION STATEMENT. ON MODEL
SOPHIA AHRENS: RVDK/RONALD VAN DER KEMP
LEATHER-TRIMMED TOP ($2,755) AND COTTON-
TWILL PANTS ($1,325). NET-A-PORTER.COM.
DETAILS, SEE IN THIS ISSUE.

166 V O G U E A P R I L 2 0 1 6



New Amsterdam KASIA GATKOWSKA. SITTINGS EDITOR: SONNY GROO. GROOMING, FEDDE HOEKSTRA FOR ELLES FAAS. ARTWORK: REINHARD GÖRNER, BERLIN, REINHARDGORNER.DE. DETAILS, SEE IN THIS ISSUE.

HOUSE OF HOLLAND
RONALD VAN DER KEMP

(RIGHT, IN A SANDRO
SWEATER AND PANTS)

DREW ON PIECES
DESIGNED BY FRIENDS—
THE STAIRCASE, A WOODEN

TABLE—ENHANCED
BY ARTWORK FROM
GERMAN PHOTOGRAPHER
REINHARD GÖRNER.

CANAL STREET
RIGHT: VAN DER
KEMP’S COLLECTION
OF ORNAMENTAL
BIRDS. LEFT: HIS
HOME OVERLOOKS

A HISTORIC
15TH-CENTURY

WATERWAY.

is something about being ethical that is very good. I want
to do something on my own terms.”

In other words, he is politically correct in his political incor-
rectness. This isn’t the latter-day equivalent of sackcloth and
ashes. Van der Kemp collaborates with local artisans—tailors,
theatrical costumers, even furniture makers—to conjure up
clothes loaded with beauty, whimsy, irony, glamour, playful-
ness, and a sense of being lifted out of the ordinary. “I want
to make pieces where you can see that someone has really
touched them,” he says. “I know when clothes aren’t made
with love.”

Currently on ofer are gleaming leather-and-python zip-
pered jackets, a ball skirt in a furnishing fabric that could
be Frans Hals–era but isn’t, and a loor-length V I E W >1 70

VOGUE.COM



New Amsterdam

button-front evening dress with sharp-

ly sculpted shoulders and a whip-thin Strike

belted waist. If you’ve trawled In-

stagram recently, you’ll likely have

spotted girls in van der Kemp’s Jas-

per Johns–esque Stars and Stripes–

appliquéd tops or his jeans emblazoned

with Old Glory and then accessorized a Chord

with an up-cycled fox-fur jacket. Even

if the fabrics are vintage, the look, the

attitude, isn’t.

So no lack of joy or fun, then, in all

of this—and for someone who says he As summer-festival season begins
to stir, designers across fashion’s
never had a plan, his label has seemed stage have suggested a downright
rocking way of accessorizing:
to be going according to, well, plan the guitar-strap handbag.

since its launch in January 2015. (Net- It started in New York, where,
for spring, Marc Jacobs sent
a-Porter has recently started to get forth woven straps studded with
bric-a-brac. Joseph Altuzarra has
behind it in a big way as well.) What them for fall, with whipstitched
edges and Axl Rose–esque
van der Kemp creates comes out of paisley-bandanna tie-ons.
(Rose reunites with the
an instinct for the way things should original Guns n’ Roses
lineup at Coachella
be these days: not disposable, not later this month.)

seasonal, not ubiquitous. And he can European
houses are holding
do it because his three-decade-long their lighters high
for the trend as well:
résumé, which includes Bill Blass Maria Grazia Chiuri
and Pierpaolo Piccioli at
(“the American Saint Laurent”), Valentino propose a turquoise
and metal–studded leash with
Guy Laroche, and Michael Kors–era a ruglike woven treatment.
Karl Lagerfeld’s Chanel
Céline, gives him not only technical collection has straps winking
to Jack White’s famous White
expertise but the life experience of Stripes–era Airline guitar.
And at Tod’s, Alessandra
coming up through a system he be- Facchinetti’s bags are
perforated or adorned with
lieves needs changing. antiqued-silver grommets.
“I was thinking about
After nine years in New York, van Florence Welch, actually,”
says Facchinetti. “She
der Kemp moved permanently back to captures different souls:
a little bit retro, romantic,
the Netherlands in 2014, inding that and definitely rock-’n’-roll.”

his homeland’s relative slowness suited The designs of Anthony
Vaccarello, who debuts
him perfectly—and when one consid- handbags for spring, might
be the most electrifying of the
ers what informs his work, it’s hard not bunch. Vaccarello admits to a love
of Janis Joplin’s “Summertime” (you
to draw parallels with Amsterdam’s can almost visualize Joplin’s wail in the
hardscrabble flourishes of one particularly
incredible duality of noble history ornate strap, which curls off in croc and
calf tendrils). “I like the way of a woman
combined with a blunt stance that re- when she’s wearing a guitar,” he says.
“She’s a true free spirit.”—NICK REMSEN
lects no niceties. Even his apartment

on the historic ifteenth-century Singel

canal, with its three-plus-centuries-old

exterior contrasted with a very twenty-

irst-century living space, gives a pretty

clear perspective on how the now and

the then can happily coexist. There

is a gleaming gold-trimmed staircase

designed by gallerist Jasper Bode and

furniture crafted by a friend, Bart

Gorter, who is responsible not only for

the monumental wooden dining table

and bookshelves but also for weaving

fabrics for van der Kemp. The space GORMAN STUDIO.
DETAILS, SEE IN THIS ISSUE.
is dotted with his collection of orna-

mental birds, and he’s quick to point

out, with a wry laugh, the subtext. ROCKS OFF

“They’re free to ly,” says the designer, FROM TOP: ANTHONY VACCARELLO
CROCODILE-SKIN BAG; JUST ONE
who refuses to be grounded by rules. EYE, L.A. ALTUZARRA BAG, $2,495;
BARNEYS NEW YORK, NYC.
—MARK HOLGATE VIEW>172

170 V O G U E A P R I L 2 0 1 6 FOR FASHION NEWS AND
FEATURES, GO TO VOGUE.COM



Fine MATTHEW SPROUT (3)
LINE

SHOW YOUR STRIPES IN LA LIGNE,
ANEWCHIC ESSENTIALSLABEL.

W hen you are
tired of stripes,
you are tired of
life!” declares
Valerie Boster,
cofounder of the new fashion brand
La Ligne, paraphrasing Samuel John-
son. That august gentleman was talk-
ing about London, and Boster about
fabric, but the sentiment is the same:
Wonderful things are eternal.

Boster and her coconspirators,
Meredith Melling and Molly How-
ard, may have given a French name
to their direct-to-consumer fashion
company, but to my mind their proj-
ect is distinctly American: a line—a
ligne!—of clothing with nothing over
$550, everything made of the inest ma-
terials and with a ferocious attention to
detail, and all of it available only from
its own Web site or Net-a-Porter. The
inaugural 50-piece collection includes
an irresistible light suit; a phalanx of
work-to-weekend trousers, shirts, and
shirtdresses; even a basket embellished
with a wide white bar.

“You know those six pieces you have
in your closet that are pretty much the
only things you wear?”Boster says. “We
want to be one of those six things——”
Melling cuts her off: “We want to be
all six!”

Though she and Boster have
been obsessed with stripes for
years, La Ligne has a rather looser
interpretation—sometimes the stripes
are full-on, as in a faithful homage
to the French marinière (the pullover
beloved of Jean Genet and Jean Paul
Gaultier); other times VIEW>174

WINNING STREAKS
FROM TOP: MODEL LILY ALDRIDGE IN A SHIRT
($195), DRESS ($500), AND SWEATER ($150)

FROM LA LIGNE; ALL AT LALIGNENYC.COM.

172 V O G U E A P R I L 2 0 1 6



Keeping It Real

they turn up as subtle white lines encir- CR AFT STILL LIFES: COURTESY OF LOEWE. DETAILS, SEE IN THIS ISSUE.
cling the neckline of a perfect sweater
or dancing down the seam of a trouser. Work

In a world where more and more DECORATIVE ARTS
women want to buy what they see when RIOTOUS COLOR COMBINES
they see it, endeavors like La Ligne are
on the cutting edge of fashion’s future. WITH JOLLY INTARSIA TO
The site will show the clothes on profes- SAY, “WELCOME HOME.”
sional beauties and other professionals, RIGHT: THE DESIGNER,
including Joan Smalls, Lily Aldridge,
and Dianna Agron, while sharing their PHOTOGRAPHED BY COLIN
candid backstories (shoppers are invited DODGSON. VOGUE, 2015.
to share their stories, too—a resolutely
informal approach with an eye toward The Spanish house of Loewe may be
building a community beyond mere built on exquisite leather craftsmanship,
commerce). There are also practical ad- but it is creative director Jonathan
vantages to running your business like Anderson’s obsession with the
this: If, say, a particular pant is a big hit, Bloomsbury Group that has given his
the company can keep making it in dif- latest endeavor—a splashy seven-piece
ferent colors and materials—as long as furniture project showcasing during
people are still interested in a product, this month’s Salone del Mobile in
well, then, so is La Ligne! Milan—its particular verve. “There’s such a sense of realness to it,” says
Anderson, who hand-selected the antiques, now enlivened with bright
Boster and Melling were both Vogue leather marquetry landscapes and wildlife, and oversaw the design
editors until they struck out on their own of other new pieces. “It’s made by real people, not machines.” Carp
swim across wooden Japanese screens, and an imposing pine-green
IN A WORLD WHERE wardrobe (an original from the storied British furniture shop Heal’s) is
SHOPPING IS CHANGING emblazoned with a collaged sixties scarf print from the Loewe archive.
EVERY DAY, LA LIGNE IS
ON THE CUTTING EDGE “I wanted genuinely positive symbols—things that simply feel light and
OF FASHION’S FUTURE pleasant,” Anderson says. Two M. H. Baillie Scott–style chairs are given Pop
Art presence with graphic stripes (Anderson has five of the original chairs
two years ago with La Marque, a styling in his East London house). And though these witty objets will undoubtedly
and fashion-consulting venture. (How- find good homes, a vibrant capsule of notebooks and pouches will be
ard was an investment banker and an available in-store. “Craft is something engineered by silent hands,” says
executive at Rag & Bone before joining Anderson, who is also launching a Loewe Foundation prize for craft this
La Ligne as CFO.) month. “It’s about both newness and tradition.”—EMMA ELWICK-BATES

Despite the dream that all your
clothes—every day!—will sport La Ligne
labels, the three know that in truth you
will pair these items with your own jeans,
your own leather jacket, your favorite
Stan Smiths. And though they will be
happy to share info on where to procure
these iconic non–La Ligne items, they
are not fools. “You won’t be able to click
out of our site,” Boster says, laughing.

Melling says that they are determined
to inject a bit of insouciance—“a cer-
tain irreverent human touch.” So, for
example, traditional monograms are
slashed with a diagonal line to echo the
way you’re friendly with your personal
stationery. “Soullessness doesn’t do very
well these days,” Boster avers, summing
up La Ligne’s credo. Or, as another Brit-
ish author, E. M. Forster, put it: “Only
connect.”—LYNN YAEGER

174 V O G U E A P R I L 2 0 1 6 VOGUE.COM













HISTORY OF

OVER THE COURSE OF THE LAST CENTURY, HAIR’S MOST MEMORABLE
MOMENTS HAVE HAD THEIR ROOTS IN VOGUE.

1 A MODEL WEARING A ROLLED COIF, PHOTOGRAPHED BY EDWARD STEICHEN, 1936. 2 RENE RUSSO,
PHOTOGRAPHED BY FRANCESCO SCAVULLO, 1975. 3 KARLIE KLOSS, PHOTOGRAPHED BY PATRICK DEMARCHELIER, 2014.

4 COCO ROCHA, PHOTOGRAPHED BY PATRICK DEMARCHELIER, 2009. 5 VERUSCHKA, PHOTOGRAPHED BY
FRANCO RUBARTELLI, 1968. 6 A MODEL IN A VELVET BOW, PHOTOGRAPHED BY KAREN RADKAI, 1957.

1

2 5
6
3
4

1
2

3
76

4 As social and political
change swept the nation, a
1 A MODEL IN PIN CURLS, PHOTOGRAPHED BY JOHN RAWLINGS, 1938. 2 PIXIE-
HAIRED MODELS, PHOTOGRAPHED BY ARTHUR ELGORT, 1993. 3 MURIEL ’20s modern woman emerged
MAXWELL, PHOTOGRAPHED BY HORST P. HORST, 1939. 4 MODELS IN COILED in the twenties. The Nine-
UPDOS, PHOTOGRAPHED BY JOHN RAWLINGS, 1945. 5 DOUTZEN KROES, teenth Amendment inspired the embrace of
PHOTOGRAPHED BY PATRICK DEMARCHELIER, 2013. 6 A MODEL IN AN newfound freedoms, and liberated sufragettes
ASYMMETRICAL BOB, PHOTOGRAPHED BY BERT STERN, 1966. 7 MODELS lopped of the long hair that deined their Vic-
IN CANDY-COLORED WIGS, PHOTOGRAPHED BY BERT STERN, 1969. torian sensibilities. With closely cropped Vogue
style stars like Coco Chanel and Louise Brooks
5 leading the charge, short styles like THE BOB
came into focus.
The Jazz Age gave way to the
Great Depression, and MARCEL

’30s WAVES relaxed into carefully

rolled curls as Americans sought to escape reality
through radio, swing music, and the silver screen.
Hairstyles remained sleek at the crown and
outwardly voluminous, making PIN CURLS
swept into tailored updos a coiing ixture. The
world would go to war at the end of the decade,
but Vogue encouraged continued dedication to
time-honored beauty rituals. “Women don’t
stop being women even in war-time,” declared
the Vogue’s-Eye View section in November 1939.

With World War II chiely
defining the early forties

’40 and Rosie the Riveter

s inspiring women to join

the workforce, hairstyles remained tailored but
utilitarian. VICTORY ROLLS ofered a practi-
cal solution to manicured manual labor. Come
1946, Vogue would declare that it was all about
“hair worn faceward,” adding an appealing de-
tail to shoulder-sweeping hair, which became the
length of the moment.

Enter the era of the ULTRAFEMI
NINE COIF. The rise of on-screen

’50s starlets like Audrey Hepburn and

Elizabeth Taylor upped the attainable glamour
quotient, with DEFINED SETS inding their foil
in more youthful PONYTAILS—both of which
provided the perfect canvas for omnipresent
headgear. Vogue enforced hats and hair accesso-
ries as the must-have accoutrements of the day,
while updated styling products hit the market.

Social and politi-
cal change mani-
fested themselves
in the hairstyles of

’60s thesixties.SLEEK
AND STRAIGHT

became the sought-after look for many, with
mod crops inspired by Twiggy and Barbra Strei-
sand gaining traction across the country. Wom-
en also began experimenting with exaggerated
height and volume for the irst time in decades,
as styles like the BEEHIVE and the backcombed
HAIR FLIP came into fashion. Amid the dawn
of the celebrity hairstylist, new techniques and
avant-garde shapes pushed the boundaries of
styling, depicted by Franco Rubartelli’s 1967 and
1968 images of Veruschka in the pages of Vogue.

187V O G U E A P R I L 2 0 1 6





1
5

2

1 A MODEL WITH
FEATHERED HAIR,
PHOTOGRAPHED
BY GIANNI PENATI,
1971. 2 REDHEAD
KATE DILLON AND A
GAMINE JAIME RISHAR,
PHOTOGRAPHED BY
ARTHUR ELGORT, 1993.
3 KELLY EMBERG,
PHOTOGRAPHED BY
ARTHUR ELGORT, 1980.
4 SASHA PIVOVAROVA,
PHOTOGRAPHED
BY PATRICK
DEMARCHELIER, 2010.
5 KARLIE KLOSS,
PHOTOGRAPHED BY
DAVID SIMS, 2013.

43

The rebellious nature of the seventies inspired full silhouette, there was the PUNK PIXIE popularized by
musical muses like Madonna and Annie Lennox.
’70s a new way of thinking. Women began let-
ting their hair down, quite literally. Cue the Linda Evangelista picked up the torch for
embrace of natural textures and center-parted, impossible the gender-bending TOMBOY CROP in
lengths—or FREE MOVING HAIR, as Vogue called it in 1977,
when wispier SHAG styles also abounded. The era’s beauty ’90s the nineties, when an obsession with an-
icons, like Jane Birkin, Lauren Hutton, and Farrah Fawcett,
gave women license to pull back from high-maintenance, drogyny emerged alongside more unkempt grunge styles.
professionally coifed looks and embrace their unique hair Linda wasn’t the only one-name wonder with inluence.
qualities instead. Even the decade’s popular rock stars opted The decade belonged to the dream team made famous by
for hair with softness and simplicity. Vogue: Cindy, Naomi, Claudia, Christy, and Kate, whose
In the eighties, the brows were big and chameleon-like prowess reigned alongside cultural phe-
the hair was bigger, fostering such nomena like Jennifer Aniston. Named after her character
styles as FEATHERED BANGS and on Friends, Aniston’s layered look THE RACHEL was a hit
at salons nationwide.
’80s NEW WAVE PERMS. A fresh crop of
supermodels also introduced a new TV and film sirens continued to dictate
generation to hair-hero worship. When Brooke Shields
graced the cover of Vogue in 1980, her steely gaze set for- ’00s trends into the aughts as actresses like San-
ward from a barrage of HIGH VOLUME HAIR inspired dra Bullock, Sarah Jessica Parker, Gwyneth
endless imitation. And for women who disliked the decade’s Paltrow, and Reese Witherspoon won Vogue covers and
beauty obsessives’ hearts. Their collective preference for
efortlessly undone yet perfectly polished strands inspired
the SLEEK BLOWOUT, which enjoyed decade-long favor.

190 V O G U E A P R I L 2 0 1 6 VOGUE.COM



1
5

2

New& Today, women are
more individualistic
than ever, and hair
has become a major

3 form of self-expres-

Next sion. With social-

4 media stars driving

beauty trends, the

pages of Vogue are in-

creasingly illed with
PERSONALIZED

CUTS and NATURAL

TEXTURE, which ofer women a way to take ownership of their hair des-

tiny. There is also a growing focus on lexibility with length as women go

longer or shorter, quicker. What’s new is now in the hands of the people.

What’s now continues to be in Vogue.

1 IMAAN HAMMAM, PHOTOGRAPHED BY ANGELO PENNETTA, 2014. 2 GRACE
HARTZEL, PHOTOGRAPHED BY PATRICK DEMARCHELIER, 2015. 3 LINEISY MONTERO,
PHOTOGRAPHED BY PATRICK DEMARCHELIER, 2015. 4 MODELS WITH VARIED HAIR
COLORS, PHOTOGRAPHED BY PATRICK DEMARCHELIER, 2015. 5 MAARTJE VERHOEF
(LEFT) AND LUCKY BLUE SMITH, PHOTOGRAPHED BY PATRICK DEMARCHELIER, 2015.

VOGUE.COM



Beauty GLISTEN UP
EDITOR: CELIA ELLENBERG CAMERON RUSSELL

IN A CALVIN KLEIN
COLLECTION DRESS AND
TIFFANY & CO. EARRINGS.

PHOTOGRAPHED BY
JASON KIBBLER. SITTINGS

EDITOR: EMILIE KAREH.

Flash HA I R, JO RDA N M FOR BU MBL E A N D BUM B LE ; M A KEU P, PAT MCG RAT H. DE TA I LS, SEE IN TH IS ISSUE.

Drive Last May, Pat McGrath found herself in an
unusual predicament: She was running out
Pat McGrath, of gold. The supply of theatrical gold pig-
the force ment she had sourced in bulk two decades
behind some earlier during an international exploit as one
of fashion’s of the world’s most-wanted makeup artists
most directional was dwindling. “I started to panic,” she ad-
beauty looks, mits, growing momentarily wistful about the precious fairy
is charting dust that is one of her many calling cards. But a fortuitous
another course— trip to a laboratory in an undisclosed location would ease her
off the runway anxiety. “I’d never seen anything so beautiful ever in the his-
and into your tory of making makeup,”McGrath says. The gilded discovery
makeup bag. would become Gold 001, the molten metallic liquid-powder
mixture heard round the Internet that she B E AU T Y>1 9 6
194 V O G U E A P R I L 2 0 1 6
VOGUE.COM



Beauty Makeup

teased on lips at Prada’s spring show before revealing it to London, she vividly remembers customizing products with
the public in a flash InstaMeet at the Tuileries in Paris in
September. Released in a quantity of 1,000 on her Web site her mother, who had a hard time inding makeup shades that
a month later, Gold 001 was the beginning of a social-media
phenomenon that would become Pat McGrath Labs. worked well on black skin. “She would quiz me on diferent

“To be able to do something like that, to make a product, eye shadows, standing in front of the television with three kids
put it out, and almost talk directly to the public is really excit-
ing,” McGrath says, turning the conversation toward screaming at her, refusing to move until we told her what new
Phantom 002, another limited run of highly satu-
rated, handmade jewel-tone pigments, which product she was wearing,”says McGrath. These early experi-
was similarly shrouded in mystery when it
launched in December—and gone almost as ences trained her to think outside the beauty box, and it is this
soon as it arrived. (The four-color Phantom
002 kit is currently fetching close to $350 inclination toward invention that irst brought her to the
on eBay.) It’s all part of an unconventional
launch strategy for “Labs”—as she calls attention of the rule-breaking British magazines
her irst-ever solo venture following more
than three decades in the industry—which of the eighties and nineties (The Face, Blitz, and
is not dependent on seasonal calendars. In-
stead, McGrath relies on Instagram teaser vid- i-D) and that eventually earned her worldwide
eos, #swatchporn product demos,
and fan art to “see if people will name recognition.
be as obsessed with a product” as
she is. And they have been. “When Those who know McGrath’s work well
I’ve created something that I know
people can get excited about and know that fresh, dewy skin is as much her
really want,” she says, “that is the
right time to put it out.” signature as Swarovski crystal–encrusted

The opportunity to act on lipstick or feather-fringed eyelashes. She
that foresight is a recent develop-
ment. “Before, whenever anybody calls this incandescent complexion quality
spoke to me about doing my own
beauty line, it had to be this way, Aliengelic: an otherworldly, ethereal look you
and you had to start in this store,
and then you had to wait so many can achieve only by layering highlighters, rath-
years, and then you would slowly
roll out to here. It just felt . . . pre- er than relying on one, “strobing”-friendly light
dictable,” says McGrath, who has
been global creative design direc- relector. Start with the creamy il-
tor of P&G Beauty since 2004
(in addition to innumerable stints luminating end of the dual-ended
developing successful color col-
lections for brands like Giorgio stick in her new Skin Fetish 003
Armani, Dolce & Gabbana, and
Gucci). She began to see a difer- kit, she instructs; then blend with
ent path with the proliferation of
platforms like YouTube and Insta- the nutrient-rich balm on the other
gram, which have been fanning the
lames of our collective fascination side, using your ingers. “The real
with makeup and its creative application. “There’s a whole
new world out there now,” she says. “No one wants predict- secret is the system,” she says. The
able”—least of all major retailers, who are as smitten with
Labs as McGrath’s legions of followers. Next month, she will components of the kit can be used
launch her irst to-scale product at Sephora and on her Web
site, releasing 25,000 kits of a three-part highlighting system together or alone. It also includes
called Skin Fetish 003 after test-running it at the fall shows.
a Buffer brush and a gel-hybrid
The backstage guru—who is rarely out of her all-black
uniform, accessorized with a thick black headband—is a pigment, available in two shades—
born innovator. Raised in Northampton, a few hours outside
Iridescent Pink 003 (a prismatic

ivory) and Fine Gold 003 (a pale

champagne)—that, when swept

on top of cheekbones, along

clavicles, or onto eyes, imparts a

high-impact shine. “It’s a fun new

way to show women—and men—

how to use shimmer.”

With her sights set on a full-

brand launch in 2017, McGrath is

not just making products. For the

irst time in her storied career, she’s

engaged in a dialogue with the cus-

tomers who have long sought to

emulate her techniques. The re-

lationship is mutually beneficial.

“The feedback I am hearing is

really rewarding,” says McGrath,

who sees beauty through “movement and life and energy,”

rather than something more one-dimensional. And if this new

discourse inspires professionals and amateurs to interpret her

madcap pigments in their own unique ways? “That,”she says, STILL LIFES: LUCAS VISSER

“inspires me.”—CELIA ELLENBERG B E AU T Y>1 9 8

VISUAL EFFECTS

FROM TOP: THE SKIN FETISH 003 KIT BY PAT M GRATH LABS
SHIMMER PIGMENT IN IRIDESCENT PINK 003, AND SHINY STICK
HIGHLIGHTER + BALM DUO IN GOLDEN. A LUMINOUS GEMMA
WARD, COURTESY OF M GRATH’S DEFT HAND. PHOTOGRAPHED BY
STEVEN MEISEL, VOGUE, 2006.

196 V O G U E A P R I L 2 0 1 6 VOGUE.COM



Beauty Fragrance

TEA
TIME

Jo Malone London’s deliciously refined new fragrance line is steeped in traditions of sensual sipping.

A steady rain falls outside the shoji-paper slid- heritage–inspired eaux, the idea isn’t too much of a depar-
ing doors of a dimly lit room on the outskirts ture: “Tea is so English,” says Roux, who has, in the past,
of Kyoto. The afternoon’s kimono-clad host spun Anglicized strains of Assam and Earl Grey into per-
is kneeling on a tatami mat and demonstrat- fumes tinged with familiar essences of milk, lemon, or mint.
ing a series of precise movements passed
Roux’s deepening appreciation for tea eventually led her

down for generations. In serene silence, she pours hot water down back alleys in China and up isolated village tracks

over a scoop of matcha powder and whisks the mixture in the Himalayas as she searched for hard-to-ind leaves.

into a froth. Then, readying her hishaku, Often hand-harvested once a year at pre-

a bamboo ladle, she ills a steaming cup cipitous elevations and carefully dried in

of a creamy, bitter beverage for me to sip the sun, they can fetch more money per

while I reflect on the tradition-soaked ounce than gold. To preserve the ephem-

simplicity of the experience. eral flavors of these rare varietals, they

The painstaking preparation of a Jap- are brewed in alcohol—yes, brewed—in G RA N T COR NE T T. P RO P ST YL IST, J J L I . ST I LL LI F E: LUCAS V I SSE R.

anese tea ceremony is enough to make an industry-first infusion process em-

your to-go cup of morning coffee feel ployed by perfumer Serge Majoullier,

Philistine. But it’s the elevated ingredi- rather than re-created with synthesized

ents at the heart of these ancient rites that accords. “There wouldn’t be as much

inspire the most enduring fascination. of an art in that,” says Majoullier, who

While all teas come from the same Ca- SOURCE MATERIAL complemented the individual elixirs with

mellia sinensis plant, I learn, not all of EACH SCENT IS INFUSED WITH A RARE harmonious secondary notes: jasmine,
TEA VARIETAL. FROM LEFT, MIDNIGHT
them warrant an hours-long ritual—let BLACK, JADE LEAF, AND SILVER NEEDLE. freesia, and apricot to bring out Darjeel-

alone their very own perfume line from Jo ing’s floral sweetness; sandalwood and

Malone London. The U.K.-based brand’s fragrance director, resinous leathers to highlight Golden Needle’s mellow spice.

Céline Roux, participated in a number of similar ceremo- The prolonged immersion also imparts a touch of color to

nies while workshopping Rare Teas, the company’s newest the range’s oversize clear-glass bottles, yielding watercolor

stand-alone collection of scents. Although the six variations hues in shades like peach, celadon, and tourmaline. If you

(based on Darjeeling, Silver Needle, sencha Jade Leaf green, can’t seem to settle on just one, the kaleidoscopic effect

Oolong, Midnight Black, and Golden Needle teas) have makes owning a full set an entirely enticing proposition.

been conceived of independently from the company’s British —CELIA ELLENBERG B E AU T Y>2 0 0



Beauty Health

RippleEffect

Kate Christensen takes the plunge with a radical new treatment for cellulite.

L ast summer, while vacationing in the White backward glances for granted. At 53, I’ve long retired my
Mountains of New Hampshire, I emerged short, frothy skirts, even on the hottest days. In a boutique last
from the cool, pristine lake to stretch out summer, I was tempted by a Lisa Marie Fernandez one-piece
on the dock. As I lay back, dripping wet, on bathing suit with a zip front, cut daringly high on the thighs,
the sun-heated boards, I caught a glimpse of but reluctantly bought a less revealing one.
the slight ruling of the skin on my thighs
that, along with many other signs of aging, Acceptance recently gave way to hope, however, when I
heard about a new technique called Cellina, FDA-approved

intensiied with every passing year. I glanced over at my sun- since 2014. The first of its kind, using a tiny blade to per-

bathing summer neighbor, a tanned and toned competitive manently sever the bands of connective tissue, it promised

athlete around my age. She rose from the dock, sleekly lean, to address the underlying cause of cellulite, not simply its

almost all muscle in her racing-back maillot. As she dove appearance. In a clinical study, 55 patients underwent a

into the water, I saw that she, too, single treatment. Two years later,

had orange-peel skin. I had been independent physician evaluators

watching her with detached envy, declared improvement in the ap-

but now I felt perversely relieved. pearance of cellulite in 98 percent

According to Jeremy Green, of those treated.

M.D., a Miami dermatologist, “It’s the first thing that’s

more than 90 percent of women worked,” says Daniel R. Foitl,

have cellulite. It’s caused by genet- M.D., a Manhattan dermatolo-

ics, hormones, and skin structure. gist. The downside, he adds, is that

“Cellulite can start any time after the procedure, which costs around

puberty,” Amy Wechsler, M.D., a $5,000, doesn’t remove any fat.

New York dermatologist, tells me. “I sometimes tell patients they

“I see it often in 20-year-olds.” need liposuction or CoolSculpt-

Cellulite is frequently mistaken for ing,” he says. Wechsler sounds

a lumpy, puckered expression of another note of caution: “Cell-

body fat. But the dimples are ac- ina is painful and causes swelling

tually caused by ibrous strands of and bruising,” she says. “It is not

connective tissue compressing the a ‘lunchtime’ treatment.”

subcutaneous layer of fat, which To learn more, I make an ap-

tends to concentrate in the thighs pointment with dermatologist

and buttocks of even the most Michael S. Kaminer, M.D., who

slender women. Green likens the was one of a team of three doc-

efect to a tufted sofa. A LEG UP tors who developed the proce-
Since my own indentations irst THE PROCEDURE DOESN’T REMOVE dure; he regularly performs it at
FAT BUT INSTEAD DESTROYS THE CONNECTIVE

surfaced, around fifteen years TISSUE THAT CAUSES PUCKERING. his Boston area practice.

ago, I’ve resigned myself to their In a well-lit consultation room,

permanence. Treatments such as caffeine creams, scrubs, Kaminer examines my skin. “You have between ten and 20

wraps, myofascial massages, and vitamin injections can pro- dimples per side,”he tells me, “and very few ripples. That makes

vide a temporary improvement in appearance, but none of you a perfect candidate.”I smile, oddly pleased; I’ve never imag-

them confers any long-term solution. Losing weight reduces ined I’d ind myself happy to have the “right”kind of cellulite.

the fat but, alas, not the dimples, which are caused by the As Kaminer explains, “With a lot of dimples, over 50 per side BILL BRANDT © BILL BRANDT ARCHIVE

ishnet-stocking-like structure of the connective tissue itself. maybe, there is a point beyond which it really just isn’t worth

Staying in shape doesn’t prevent or banish cellulite; my condi- it. It doesn’t fix skin laxity. And it doesn’t work on longer

tion had persisted, despite my twice-weekly Pilates practice horizontal lines, only shorter ripples and discrete dimples.”

and conscientiously nutritious diet. Cellina originated as a less-invasive iteration of a com-

Every spring, I admire the gazelles I see stepping out of mon treatment for pitted acne scars. Kaminer describes its

taxis in their abbreviated skirts and dresses, their skin “as elegant simplicity: On numbed skin, an iPhone-size suction

luminous as the inest of seashells,” in the words of the great cup lifts and stretches each dimple, and then a tiny blade per-

sensualist Anaïs Nin. I recall with nostalgic appreciation forms a subcision to release the connective bands. The bands

the days I’d stride the city streets in summertime, taking fall apart, and the skin floats up again, B E AU T Y>2 0 6

200 V O G U E A P R I L 2 0 1 6 FOR BEAUTY NEWS AND
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