Innholdsfortegnelse for February 2016 i Vogue

Country bumpkin or city slicker? If I had to identify myself as one, I would, of course, choose the latter. A childhood spent in Bavaria and then at a boarding school tucked away in sleepy rural England left me mesmerized by bright city lights. In the past, unless an invitation arrived involving a good dose of adrenaline—say, galloping through the woods on horseback at neck-breaking speed—my favorite view of nature was through a car’s rear window. Once at a shooting weekend at a beautiful moated castle, the poor hosts were gobsmacked when my sister and I concocted the excuse of a “baptism that had slipped our minds.” Instead of marching through fields with possible suitors in Wellington boots, we went raving in London. Granted it’s an age thing. Anyone young…

Here’s the thing about wearing sunglasses: The combination of their rather prominent placement with their inherent tendency to draw attention—even when one is using them in an attempt to go incognito— make them naturally suited for character play. And, of course, there’s always a new role to take on. Enter Smoke x Mirrors, the brainchild of cousins David Shabtai and Roi Ironi, which mixes candy-colored rims and lenses with geometric and futuristic frames for a look that is anything but anonymous. “The name gives us the freedom to approach eyewear as a mask,” says Shabtai of the year-old, New York–based brand. While he and Ironi collaborated with Baja East for spring 2016, their second collection, Soda Pop, pays homage to Fiorucci, late-eighties Ibiza, and all things . . . well,…

Gwyneth Paltrow would like to do more sit-ups. This comes as a surprise, not only to me but also to the instructor at the Brentwood location of the Tracy Anderson Method in Los Angeles, who has been leading us in nonstop sit-ups for the past seven minutes. These were preceded by weighted leg lifts, an unrelenting arm workout, and an hour-long high-cardio dance class during which Paltrow, in American flag–patterned Reeboks, whipped her blonde ponytail around while executing perfect choreography suggestive of someone who has been on Glee. Still, Paltrow didn’t feel the ab work when we did it the first time. So she’s leading the instructor— and a nearly expired me—in more. Every morning begins similarly for the 43-year-old businesswoman, Academy Award–winning actress, and mother of two: She wakes…

When Linda Rodin decided to sign on with Estée Lauder in late 2014, the niche-skincare and -fragrance pioneer felt a certain kinship with the company’s legendary founder. “[Estée] started in her kitchen; I started in my bathroom,” reveals Rodin, a former model and longtime stylist whose cult-favorite Olio Lusso face oil began as a hand-blended experiment in her Chelsea apartment. The 67-year-old entrepreneur’s highly anticipated extension into the world of color cosmetics with a tightly edited line of lipsticks, launching this month, also has something to do with the newly forged partnership. Insists Rodin, “Lauder equals lipstick.” But if you were to ask anyone familiar with the style icon—whose dove-gray hair and oversize glasses are often punctuated by brightly painted lips—so does Linda. Rodin hewed closely to her patchwork of…

anya Taylor-Joy had just turned fifteen when she was discovered walking her dog outside Harrods. Within days, she’d been signed by Storm Model Management, and now, at nineteen, this Londoner has Hollywood predicting big things. A lovely young woman with extremely wide-set eyes (“As a kid,” she says lightly, “I looked like a horse or a fish”), Taylor-Joy is one of those actors, like Keanu Reeves or Angelina Jolie Pitt, who seem born to play otherworldly characters. She was cast as the seer in Atlantis and will be an artificial being in Morgan, a film by Ridley Scott’s son Luke. Nowhere does her magical aura shine more brightly than in Robert Eggers’s The Witch, the slow-burn Sundance hit set in seventeenth-century New England, in which she plays a teen pulled…

To inaugurate Hauser Wirth & Schimmel’s new L.A. space—a sprawling former flour mill in the city’s Arts District—the gallery has chosen a thrillingly ambitious survey of work by female sculptors called “Revolution in the Making.” Starting with a piece by the postwar pioneer Louise Bourgeois originally titled The Blind Leading the Blind, the exhibition winds through four interconnected buildings and just as many generations, with work by Hannah Wilke, Jackie Winsor, Jessica Stockholder, and Shinique Smith, to name a few. Paul Schimmel, who joined the outpost after 22 years at MOCA, says an emphasis on process and materiality is the “keel on this boat.” And while the highly formal works—by women in what cocurator Jenni Sorkin calls a particularly macho corner of the art world—aren’t outwardly political, they’re far from…

though L. P. Hartley called the past “a foreign country,” sometimes it can feel more like the place that we call home. For the characters in Blackbird—the punishing, poetic two-person play by the aptly named David Harrower that dissects the catastrophic lingering effects of a sexual relationship between a middle-aged man and a child—the past is a prison. It’s a story that was brought to devastating life by Jeff Daniels and Alison Pill during its all-too-brief 2007 run at the Manhattan Theatre Club. Nine years later, past and present are merging as Blackbird finally comes to Broadway, with Michelle Williams squaring off this time against Daniels, once again under the virtuoso direction of Joe Mantello. “I’ve never had the experience before of wanting to return to a play, a feeling…

The sky over Yemen at 1:30 a.m. is dark and still, a vault of deep blackness brushed with a faint smattering of stars. Sprawled on an office chair beneath it, the filmmaker Laura Poitras stares upward, taking in the view. Yemen’s a complicated place, a flash point in America’s war on terror and currently in the throes of a devastating civil war. Poitras lived there for a while, in a small apartment in the middle of Sana’a, the capital city, filming her 2010 documentary, The Oath. She’d spent much of her adult life in New York, but after 9/11, as so many artists and journalists examined what the attacks had done to America, Poitras picked up her camera and set off to explore what 9/11—or, more accurately, America’s response to…

Contents 42: Jacket, price upon request; Opening Ceremony, NYC. Blouse ($1,390) and skirt ($1,190); Oscar de la Renta boutiques. Céline boots, $1,250; Céline, NYC, (212) 226-8001. Manicure, Tracylee. 54: On Imaan: Top, $435; Max Mara, NYC. On Naleye: Hat, $375; Saint Laurent, NYC, (212) 980-2970. 64: On Cruz: Dress, $3,490; select Ralph Lauren stores. 18K white gold–and–diamond earrings ($4,110) and 18K gold–and–diamond rings ($1,869–$3,490); Chopard boutiques. Viceroy Uno Entre Cien Mil bracelet; viceroy .es for information. On Stiller: Jacket ($3,895), shirt ($695), and pants ($1,995); select Dolce & Gabbana boutiques. Manicure, Gina Viviano for Chanel Le Vernis. Flash 96: Dress, $2,295; Bergdorf Goodman, NYC. View 104: On Iman: 18K gold–and–tsavorite earrings ($15,045), 18K-gold necklace ($7,890), 18K-gold pendant on necklace ($8,880), and 18K gold–and–diamond cuff (price upon request); Aurélie Bidermann, NYC,…

When I was a junior in the drama department of New York’s High School of Performing Arts, I was in the acting program. But as much as I loved the theater and being onstage, I was terrified. Two years previously I had lost 75 pounds and gone from being a fat kid to a skinny teenager with a fragile self-image. While the other students in my class were making plans to go on to Juilliard and SUNY Purchase and become movie stars, I was at a crossroads. I thought if I dared to pursue a career in the theater, I would end up at best a fat (again) character actor without much work. I pictured myself being rejected again and again, and finally languishing. That same year I was recruited…

I feel like I have two good ideas per year, and this was one of them,” says Nicole Systrom. Though this is certainly not the case for the founder of clean-energy investment firm Sutro Energy Group, transforming her wedding to Instagram cofounder and CEO Kevin Systrom into a Jazz Age–themed black-tie masquerade ball in Napa was, unquestionably, a lightning-bolt moment. The October 31 nuptials featured one memorable idea after another, from the bride’s walk down the aisle to the tune of “Nobody Does It Better” to the band that played their daytime reception: a Wisconsin high school jazz group that the groom discovered on YouTube. Following the alfresco ceremony and luncheon at the Beaulieu Vineyard, the 180 guests returned to their hotel to discover the custom masks that had been…

I came to own my first designer handbag because my father came out of the closet when I was thirteen years old. Anticipating that this development would be a great deal more difficult for me than it actually turned out to be in our progressive New York City community, he figured he might as well buy me a bag to make up for it. The designer was Kate Spade because, as a thirteen-year-old disciple of the Church of High Fashion, I pined for two things: a j’adore dior sleeveless tee and a Kate Spade lime-green messenger bag. My questionable color preference aside, I knew anything from Kate Spade had the power to make you cool. Before there was the glittering, candy-striped retail bazaar we know today as Kate Spade New…

After the National’s Bryce Dessner took New York City Ballet’s Justin Peck to see a show of Marcel Dzama’s offbeat watercolors at David Zwirner, the three men set out in search of the perfect project. They landed on a ballet of The Most Incredible Thing, a lesserknown Hans Christian Andersen tale of a young man who wins a contest by making a peculiar clock—only to have “a long bony fellow” (so convenient for dance) smash it with an axe. The story stood out for its eerie reflection of recent headlines about the destruction of ancient artifacts, and for its hopeful ending about artistic transcendence. Opening at NYCB this month, Peck’s first fully narrative ballet channels the Ballets Russes with playful, expressive choreography, while Dessner’s melodic score incorporates heavy percussive elements…

from Nathanael West to David Lynch, Los Angeles has long represented America’s dark heart of paradise. Several of the city’s immortal personalities come to life in Jean Stein’s enthralling West of Eden: An American Place (Random House): oil baron Edward Doheny, who inspired Daniel Day-Lewis’s character in There Will Be Blood; Academy Award–winning actress Jennifer Jones, a Pygmalion story for Hollywood’s Golden Age; and MCA founder Jules Stein, the author’s self-made father, among others. As she did for Edie Sedgwick in Edie: American Girl (coedited with George Plimpton), the former Grand Street editor harnesses a gossipy chorus of voices—among them luminaries like Arthur Miller and Joan Didion, a longtime friend of the Stein family, but also security guards, social secretaries, and therapists—to narrate these tales of hubris among the palms,…

If buildings, like people, have their seasons, then Flint House is defiantly a winter house. The monolithic, wedge-shaped building is veiled in a quartz skin that graduates from glassy darkness at the base through lightening bands of grays to the chalky whites of the stepped roofline. Built in the hinterlands of Buckinghamshire’s 5,500-acre Waddesdon Manor estate, the house virtually dissolves on a cold-weather afternoon into misty skies and a sparse agricultural landscape. In fact, the idea for Flint House took root one December day five years ago when Charlotte Skene Catling, cofounder of the architecture firm SCDLP (Skene Catling de la Peña), was walking the site and chanced on nodules of flint that had been churned to the raw surface of the plowed field. Fascinated by the contrast of the…

Sarah Burton’s seventeenth-century-inspired spring collection for Alexander McQueen was unusually sweet—an Anglo fairy tale told by pretty English roses clad in soft, ruffled lace. The antiqued-silver earrings in particular recalled winking chandeliers and grand parties in aristocratic halls, with melting candles replaced by imperfect river pearls and teardrop charms swinging from chain fringe. Designed to be worn either singly or as a pair, they’re a choose-your-own-whimsy chapter in a resplendent baroque romance.…

112K Angelina ASCENDANT Our November cover story on Angelina Jolie Pitt rocketed through cyberspace on the strength of journalist Elizabeth Rubin’s “wide-ranging” (E! Online) interview and photographer Annie Leibovitz’s “divine” (Paper) portraits of the whole Jolie-Pitt clan. On social media, the actress-director-writer’s first Vogue cover in five years (“Finally!” @mrallenle) garnered applause (“Cover of the year!” @taendalion) and admiring remarks on the star’s philanthropic pursuits. All of this even as Jolie Pitt’s fall film with husband Brad, By the Sea, met with a more tepid commercial and critical reaction. SHE IS THE DEFINITION OF BEAUTY @ maricelaveng THIS IS EVERYTHING @ itssantannie from the INBOX Your November article by Tamar Adler [“Breaking Point,” Beauty & Health] resonated within my exhausted 38-year-old bones. After fifteen years of running whoknows-how-many miles, I…

I’ve always been obsessed with the art of lying down,” Nell Diamond says, sinking into a corner banquette at Cafe Clover in the West Village. “I like to go to parties, but I definitely prefer to sleep.” Dressed in a feather-fringed Dries Van Noten jacquard sweatshirt, the 27-year-old London-born beauty looks as though she stepped out of a Titian painting and discusses Milton as deftly as she describes Matouk monograms. Her new line of linens, Hill House Home, stems from a niche she saw in the e-commerce market while studying at Yale Business School. “I thought, Where is the cool, chic home brand—where’s the Acne, the Rag & Bone?” Her first five classic sheet collections—each all-white, with minimalist flanges and finishings—take inspiration from such grand hotels as the Carlyle, the…

I think we need more jars,” says the jewelry designer Aurélie Bidermann, a necklace of her own creation—an elephant pendant wrapped in clear and liquid pink sapphires—swinging as she embraces the hunt. We’re at a West Village shop called the End of History, stacked to the ceiling with midcentury glassworks and ceramics, where Bidermann is brainstorming the decor of her second New York store, opening at Seventy-fifth and Madison this month (“near the Met Breuer museum—and Sant Ambroeus!” she gushes). Moments later, she singles out a milky-blue Portieux Vallerysthal canister, which looks almost electric against the ashen light flooding in from outside. “You know,” says an attendant dealer, “we sent a similar one to you in Paris.” Bidermann laughs: “There you go! You see?” It soon becomes apparent that Bidermann…

Over the past year and a half, David Koma has sculpted out a distinctly modern vision for the Mugler woman—offering a wardrobe that cuts a refined line, from the sportive and statuesque to the confidently sexy. With those codes now locked in, he’s readied himself to launch handbags. “I was thinking along a military theme,” Koma says from his office in Shoreditch, London. “The naval forces, to be precise.” The boating element is already evident: One model, the Aurora, features a box casing with a metal-linked strap akin to anchor chains. Another, the chicly compact Vega, looks as if it was designed to fit a pair of binoculars and a compass. (Though in lieu of navigating treacherous waters, we imagine, one might use these bags when sailing smoother seas—Mecox Bay…

My goal is simple: I want that summertime glow—when skin looks dewy and fresh, hydrated and alive—right now, in the dead of winter. But instead of plush, pillowy, and incandescent, I’m working with blotchy and parched—flaky skin that my foundation sits on top of, creating what can best be described as a dulling “stucco effect.” Imagine a fresco. A peeling one. What is effortless in the summer, when there is so much moisture in the air, now takes some doing. Beyond a good hydration strategy—a humidifier helps (Dyson’s silent wonder is the Rolls-Royce)—the return to radiance also includes evening out mottled skin tone, which can be so much more apparent when summer color has completely faded. With the colder months also comes a weaker UV index, making now the ideal…

Well they say no man can be a prophet in his own country and so I left, here I am.” Thus goes the opening track of At Least for Now, the debut album from singular musical talent Benjamin Clementine, who could be describing his own path. Born to Ghanaian parents and raised in the working-class London suburb of Edmonton, Clementine taught himself classical piano by ear while still a boy. At nineteen, he left for Paris, where he began writing his own songs, inspired by such varied sources as Immanuel Kant, James Baldwin, and the Bible, busking on sidewalks by day and sleeping in hostels at night. Eight years later, the 27-year-old returned to England to accept the 2015 Mercury Prize. Now Clementine— pronounced Clemen-teen, he insists, because “clemen-tine is…

It’s been two centuries since Jane Austen published her society-skewering fiction, but her hold on our romantic imagination has never been stronger. Consider this month’s Pride and Prejudice and Zombies, based on Seth Grahame-Smith’s 2009 parody mash-up and starring Lily James as a swordslinging Elizabeth Bennet. Then there’s Curtis Sittenfeld’s Eligible (Random House), which updates the classic to present-day Cincinnati, where Liz, a single-ish magazine writer in her—horror of horrors!— late 30s, spars with Fitzwilliam Darcy, M.D. Love & Friendship, premiering at Sundance, revives the littleknown novella Lady Susan, in which a comely widow (Kate Beckinsale, an Austen vet thanks to A&E’s Emma) hunts husbands for herself and her debutante daughter (newcomer Morfydd Clark). And for true diehards, Jane Austen: An Illustrated Biography (Chronicle) brings the author’s world (her childhood…

For its fifth triennial, the Cooper Hewitt investigates modern “Beauty” with its largest exhibition since the museum’s state-of-theart overhaul in 2014. The show offers versions both high and low, traditional and provocative: Daniel Brown’s digitized flowers; furniture rendered in lava from Mount Etna by Formafantasma; makeup creations by Pat McGrath. “There’s a cacophony of practices here, from architectural models to couture dresses,” says cocurator Andrea Lipps. The unifying theme? “Aesthetic innovation.”…