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 Kate Moss
CONTENTS
wears trousers,
from a selection,
Stefano Pilati
for Random
Identities

Regulars
77 Editor’s letter
85 Notices
Meet the faces behind the issue
88 Fashion travel
Around the world in four fashion weeks
98 Vogue.co.uk
Your complete guide to a/w 2020
220 Checklist
Golden tones and updated classics
292 ON THE COVER
Forces for Change
Naga Munchetty discusses Donald
Trump, racism and media storms with
Giles Hattersley. Photographs by
Ben Weller. Styling by Donna Wallace
330 Stockists “Between excess
Vogue trends and rigour,
133 Future classics between male and
Breezy florals and sharp accessories female, Stefano
142 Rainbow coalition
Fashion’s most brilliant allies
Pilati has built a
149 Chalk it up
brand without
a blueprint”
NIKOLAI VON BISMARCK

Powder shades for the chicest tailoring

151 Seasonal forecast In-between days, page 310
We predict the loveliest trench coats
154 Swipe white
Pristine cottons incite pure desire

157 Cut out and keep 187 Steel yourself

First peep at the season’s eveningwear The silver-hued stars of the watch
COVER LOOKS 159 Graphic novelty world, selected by Rachel Garrahan
It’s all there in black and white Arts & culture
164 Club tropicana 191 The new normal
Sunshine days, whatever the weather Olivia Marks meets the young leads
166 Straw poll of our next television obsession
Raffia bags are voted up 197 Spirit of the age
168 The finer points Cecil Beaton delights at the National
“Shoellery” explained Portrait Gallery. By Robin Muir

176 Vogue darling Vogue living

Model Iris Law’s favourite things 198 Dressing rooms
The s/s 2020 shows will be
Spotlight influencing more than what we
171 Quiet power wear, observes Naomi Smart
This month, Vogue has been published with two different covers.
Vanessa Barboni Hallik, CEO of
Irina Shayk wears, above left, sequined silk-gauze dress, £2,320, Prada.
Cloqué gloves, to order, Emilia Wickstead. Above right, wool jacket, Another Tomorrow, talks style and 205 Life & style
£1,090. Wool trousers, £690. Both JW Anderson. Hat, to order, Self-Portrait. Colourful picks to carry you into
Patent-leather choker, £285, Gucci. Get the look: make-up by Clé de Peau sustainability with Ellie Pithers
Beauté. Above left, eyes: Eye Liner Pencil Cartridge in Black, and Perfect spring, by Julia Sarr-Jamois
Lash Mascara. Lips: Radiant Lip Gloss in Rose Quartz. Skin: Sheer Fluid
Veil. Above right, eyes: Perfect Lash Mascara, and Cream Eye Colour Solo Jewellery & watches 207 In high contrast
in Sensitively Radiant Soft Pink. Lips: Lipstick Cashmere in Flower Power.
Skin: Radiant Fluid Foundation SPF 24. Hair by: L’Oréal Professionnel. 183 Plain genius German-born, Milan-based designer
Above left, Tecni.Art Fix Polish. Above right, Mythic Oil Original Oil. Hair: Paul
Hanlon. Make-up: Lucia Pieroni. Nails: Chisato Yamamoto. Set design: Miguel
Tiffany’s technical virtuosity appears Umit Benan lives in the best of both
Bento. Styling: Edward Enninful. Photographs: Mert Alas & Marcus Piggott simplicity itself, says Rachel Garrahan worlds. Scarlett Conlon visits > 62

51
CONTENTS
Backstage drama,
page 236
Viewpoint
210 All torn up
“Who knew a father-daughter bond
could be cancelled like a subscription?”
A personal account of emotional injury
212 Star of the season
In a short story for Vogue, Bernardine
Evaristo writes of a shocking fashion
show in a dystopian future
Archive
215 A new Day dawns
Kate Moss, radiant on her first Vogue
cover, March 1993. By Robin Muir
Tech
216 Look smart
How Giovanna Battaglia Engelbert
keeps her finger on the pulse
Mr Vogue
219 And for his next turn
Actor Callum Turner is just as
dashing in person as he is in Jane
Austen’s Emma, finds Sirin Kale
Beauty & wellness
231 Purple haze
Pat McGrath sums up the new
psychedelic mood in make-up
232 Director’s cut
Kathleen Baird-Murray on
contemporary, sophisticated glamour
234 Straight talk
Maintaining good posture is a learning
curve, reports Lauren Murdoch-Smith
Purple haze,
page 231 236 Backstage drama
Catwalk looks for the real world
238 ON THE COVER
Break it down
Kathleen Baird-Murray investigates
the future of biodegradable packaging
240 Beauty musings
Lauren Murdoch-Smith’s top launches
Fashion & features
246 ON THE COVER
6 Supers
Tomorrow’s supermodels wear today’s
denim. Photographs by Alasdair
McLellan. Styling by Kate Phelan
SUBSCRIBE TO
62
Trench coat,
£2,450, Balenciaga.
Leather boots,
from a selection,
Celine by Hedi
Slimane. Leather
belt, from £330,
Givenchy. Leather
bag, £1,635,
Valentino Garavani
“Refined and
reworked for
spring/summer
’20, the trench
coat is back”
Return of the mac, page 268
258 ON THE COVER 296 ON THE COVER
Spring awakening Castle on a cloud
Irina Shayk, this month’s cover Freja Beha Erichsen and cast offer
star, tells her rags-to-riches story. some hard-edged romanticism for the
Interview and styling by Edward modern world. Photographs by Craig
Enninful. Photographs by Mert McDean. Styling by Benjamin Bruno
Alas & Marcus Piggott
310 ON THE COVER
268 ON THE COVER In-between days
Return of the mac Random Identities – Stefano Pilati’s
A spate of re-imagined trenches. singular brand – takes fashion further,
Photographs by Stef Mitchell. says Anders Christian Madsen.
Styling by Sarah Richardson Photographs by Nikolai von Bismarck.
Styling by Kate Phelan
276 The swing of things
Think more, buy less… Fashion’s 314 ON THE COVER
barometer has reset, says Harriet 4 days with Naomi
Quick. Illustration by Augustynka
BEN HASSETT; STEF MITCHELL; PIXELATE.BIZ
Fearless after-dark style, with
280 ON THE COVER Naomi Campbell and friends.
Bare necessities Photographs by Juergen Teller.
Oversized suits and sporty Styling by Poppy Kain
separates with just the right amount
of wow, courtesy of Gigi Hadid.
Vogue asks
Photographs by Zoë Ghertner. 331 What would Lara Stone do?
Styling by Julia Sarr-Jamois The Dutch model takes our quiz
Turn to page 218 for our fantastic subscription offer, plus free gift
 KEIRA KNIGHTLEY wears COCO CRUSH necklaces
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© 2020 Chloé SAS, all rights reserved.
 EDITOR’S LETTER
In Bare Necessities,
on page 280, Gigi
Hadid models easy
sportswear and
understated
tailoring. Gigi
wears cashmere
cardigan, £690.
Wool trousers, £820.
Both Michael Kors
Collection. Bra,
£52, Commando,
at Luxury-legs.com.
Earrings, £355,
Alessandra Rich,
at Matches
fashion.com

As you
might imagine…
a question I am often asked is, “What
is the big trend this season?” It won’t
surprise you to know that not every
season of late has provided a distinct
answer. Not that you won’t find an ocean
of ideas, of course. In this era of too
much instant gratification, no one is
lacking options of what to wear. But
sometimes you do rather long for some
good, old-fashioned big trends.
You are in luck. When it came to
preparing this, our lead spring fashion
issue of 2020, my editors and I were spoilt
for choice. After the spring/summer
shows, we reconvened at our offices in
London, all struck by the same standout
elements: thoughtful minimalism,
delicious denim, remixed trenches and
the timeless power of tailoring.
So many of these elements were crystal
clear, while the clothes were refreshing,
MERT ALAS & MARCUS PIGGOTT; ZOE GHERTNER; CRAIG MCDEAN; JUERGEN TELLER
state of California, while, on page 310,
Kate Moss salutes Random Identities,
the new label by master of tailoring
Stefano Pilati, and Naomi Campbell
shines (quite literally) in the pick of the
new partywear (page 314). Meanwhile,
Vittoria Ceretti, Ugbad Abdi and other
bright young stars show how to do denim
now, Lara Stone offers some sage life
advice, and Freja Beha Erichsen returns.
It is a supermodel bonanza, if you will.
Naturally, I needed a star to front it
all. On page 258, Irina Shayk models
the new ways to do shape, and talks to
me about her extraordinary life, growing
up in the former Soviet Union, and
motherhood since her separation from
Bradley Cooper, as well as sharing some Right: cover star Irina Shayk
fascinating thoughts about her own is interviewed on page 258.
gender. And the candidness doesn’t stop Below, from left: Naomi
Campbell (page 314); modern
there, whether it’s the young actors in

romance, on page 296

wearable and modern. The clarity of the Normal People (on
season’s shared vision felt like the old page 191) discussing
days, and I instantly knew I wanted to bringing the hit novel
build this issue around wearable classics, to the small screen,
cool simplicity and everyday dressing or a gripping piece of
– and every night, too. Though, being fantasy fiction from
me, I also knew it had to thrill. If the Booker Prize winner
trends were going to be a little more Bernardine Evaristo
straightforward, then the presentation (page 212). On page
had to be anything but. 292, BBC Breakfast
So we assembled the greatest models star Naga Munchetty
working today to do the honours, from speaks for the first
industry legends to newer faces. Take time about the race
Fran Summers in Return of the Mac row that engulfed her
(on page 268), breathing new life into last summer, and
the trench – I was obsessed with how, gives her take on the
led by the Burberry resurgence, everyone corporation’s efforts
has reinterpreted it this season. On to evolve. Fittingly
page 280, Gigi Hadid embodies the for springtime, it’s
luxuriously undone appeal of her home all change.

77
 NOTICES

For Bare Necessities,

on page 280, Zoë
Ghertner (below)
shot Gigi Hadid in
pared-down, new-
season looks fit for
a lazy California
afternoon (left).
The photographer’s
favourite thing
about working with
the model? “Her
self-confidence. She
is humble and real.”

Mert Alas and Marcus Piggott

photographed model Irina Shayk for this
month’s cover story. “Ever since meeting
this woman, I’ve been touched by her
MEET & GREET
warmth, loyalty and beauty,” Alas (above, Introducing the faces
with Irina), has said. Read her no-holds-
barred interview with editor-in-chief behind this month’s issue
Edward Enninful on page 258.

Make-up
artist and beauty
editor-at-large
Pat McGrath offers
her snapshot of
the new season,
COMPILED BY TIMOTHY HARRISON. ZOE GHERTNER; BEN HASSETT;
PAOLO ROVERSI; JOHAN SANDBERG; JENNIE SCOTT; @IRINASHAYK

on page 231. Her

take? “Vibrantly
painted eyes
and lavishly lush
lashes for major
beauty decadence.”

For Castle on a
Cloud, on page
296, contributing
fashion editor
Meanwhile, for In-between Days,
Benjamin Bruno
on page 310, Nikolai von Bismarck shot created a modern
contributing editor Kate Moss wearing fairy tale using
Stefano Pilati’s new Random Identities Booker Prize-winning author looks fresh from
collection. “I admire Stefano’s enthusiasm, Bernardine Evaristo imagines the future of the runways.
his passion and how forward-thinking fashion in a new piece of fiction for Vogue, His mix of froth,
he is,” says the photographer. on page 212. What’s at the top of her must-read sophistication and
list this year? “A Man Who Is Not a Man by sensuality will
Thando Mgqolozana, Black Rain Falling have you living
by Jacob Ross and Summer by Ali Smith.” happily ever after.

85
FASHION TRAVEL The view across Paris
from Hôtel de Crillon’s
Suite Bernstein

NOIR KEI NINOMIYA

“Breathtaking is a
phrase too often used
in this industry – but
Noir Kei Ninomiya’s
PARIS show was precisely
that. It’s one of the
“There was a silent rare examples of a
disco at the Lanvin runway video stored
show. We’d forget we in my phone that
had on headphones, I’ve returned to
and the team would time and again.”
turn to each other Olivia Singer,
and say things like, executive fashion
‘Great bag!’ But news editor
quite loudly.”
Laura Ingham, Kate Phelan and
fashion market Laura Ingham
director
CHANEL

“I arrived
in Paris and
jumped
straight into a
taxi to Celine.
Steinberg (right) SEASON
TICKET
stomped down
the catwalk in
her embellished
dress and stole
the show.
Black bob,
In a tale of four cities,
black boots… the Vogue editors select their
Stunning.”
fashion month highlights
CELINE

Venetia Scott,
contributing
fashion director

Jennifer Lopez, Donatella
MILAN
“The team went wild for the tiles at
Prada (above), which where offset by
burnished gold columns. But the moment
that got the whole industry on its feet?
Jennifer Lopez sashaying down the catwalk
at Versace in reissued tropical prints.”

LLOYD-EVANS; A OSLO; MITCHELL SAMS; ANDREA ADRIANI/GORUNWAY.COM;

Versace and Amber Valletta Ellie Pithers, fashion features editor
and senior associate digital editor

“No New York event was

EDWARD ENNINFUL; DARREN GERRISH; LAURA INGHAM; JASON
The Vogue team pose with bigger than Zendaya’s
their Mercedes-Benz during second collaboration
London Fashion Week
BULGARI HOTEL; HOTEL DE CRILLON; GETTY IMAGES

with Tommy Hilfiger,

which took place in
the Apollo Theater
and was a visual
expression of
LONDON the appetite
for change
“Bulgari Hotel’s outstanding epitomised by
spa (right) is my secret weapon NEW YORK her generation.
when London Fashion Week ‘It’s about
gets hectic. I can’t wait to try its “In addition to 11 Howard’s winning location opportunities.
latest experiential treatment, the and super-comfortable beds (above), the It’s about
90-minute Stress Melting Ritual, buttermilk chicken served in The Library opening doors,’
which features Kloris natural CBD is the best I’ve ever had. After a long day she told me.”
balm with aromatherapy oil and of shows and appointments, it’s almost all Anders Christian
hot stones.” Rosie Vogel-Eades, I can think about.” Sarah Harris, deputy Madsen,
fashion bookings director editor and fashion features director fashion critic

88
WWW.MANOLOBLAHNIK.COM
 MARCJACOBS.COM

RUNWAY
SPRING 2020
MARC JACOBS

PHOTOGRAPHED BY
STEVEN MEISEL
VOGUE.CO.UK

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98
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 CASA LOEWE London
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Discover more at sisley-paris.com
TOMFORD.CO.UK
www.akris.com
 TRENDS
Dress, £1,490,
Victoria Beckham.
Edited by Naomi Smart
Corsage, £685, Styling by Jack Borkett
Louis Vuitton.
Tights, £8, John
Lewis & Partners.
Sandals, £895,
Giuseppe Zanotti.
Bag, £395, Aspinal
of London
AFRA ZAMARA. MODELS: AGI AKUR, MALAIKA HOLMEN, ISABEL JONES, FUYAO LI, KARLY LOYCE
HAIR: SHIORI TAKAHASHI. MAKE-UP: LAURA DOMINIQUE. NAILS: ZARRA CELIK. SET DESIGN:

FUTURE
CLASSICS
Breezy silk dresses, faded florals, glossy crossbody bags…
Yes, spring’s barometer is pointing to the 1970s, but there
are plenty of feel-good fashion trends to suit quieter tastes.
Photographs by Benjamin Vnuk
133
TRENDS

“Cinch this wear-anywhere dress with

a horse-bit belt, and team with bourgeois Wear with…
boots or cork platforms” Below, from top:
SARAH HARRIS pendant necklace,
DEPUTY EDITOR & FASHION FEATURES DIRECTOR £690, Celine by
Hedi Slimane. Belt,
£110, Black & Brown
London. Bag, £2,350,
Louis Vuitton.
Sunglasses, £320,
Gucci. Mules, £149,
Kurt Geiger London
MARC JACOBS

JASON LLOYD-EVANS; MITCHELL SAMS; PIXELATE.BIZ

Dresses:
clockwise from
top left, £1,520,
Michael Kors
Collection.
£2,225, Etro.
£750, The
SAINT LAURENT

Vampire’s Wife.
£1,235, Petar
Petrov
CELINE

134
TRENDS
Clockwise from left:
jacket, £345, Maje. Necklace,
price on request, Daniela
Villegas. Bag, £4,085,
Chanel. Shoes, £590,
Victoria Beckham

RAINBOW
COALITION
Put a spring in your step with a colour
wheel of saturated brights

From left: Karly wears jacket, £772,

Jacquemus. Wrap top, £230, Supriya
Lele, at Modaoperandi.com. Bra,
£75, Agent Provocateur. Skirt, £250,
Awake Mode. Malaika wears top, £380,
Supriya Lele, at Openingceremony.com.
Trousers, £425, Joseph. Agi wears
green top, £670. Orange top, £180.
Both Versace. Skirt, £1,240, Gucci

BENJAMIN VNUK; PIXELATE.BIZ

142
SS20 COLLECTION
 TRENDS

CHALK
From left: Agi wears
trench coat, £529,
Sandro. Cardigan,
£825, Tibi. Skirt,
£495, Rokh. Mules,
£255, Gia & Pernille

IT UP
Powder shades are the last
Teisbaek, at Browns.
Earrings, £184, Tom
Wood. Karly wears
jacket, £2,035, Paul
Smith. Shirt, £700,
Saint Laurent by
Anthony Vaccarello.
word in city-slick tailoring Trousers, £505.
Bag, £1,020. Both
Lemaire. Shoes,
£675, Balenciaga.
Earring, £180,
Ambush. Ring, £90,
Carolina de Barros
KWAIDAN EDITIONS
VICTORIA BECKHAM

BURBERRY
BENJAMIN VNUK; JASON LLOYD-EVANS; MITCHELL SAMS

ROKSANDA

TOD’S

149
 JASON LLOYD-EVANS; MITCHELL SAMS

BURBERRY

VALENTINO

GIVENCHY

VERSACE

JW ANDERSON

Style out the vagaries of the British

SEASONAL
FORECAST
weather in the best deconstructed trenches
ALEXANDER MCQUEEN

PORTS 1961

DIOR
GABRIELA HEARST

BALENCIAGA

ROKH JUNYA WATANABE

151
TRENDS
From left: Isabel wears layered
top, £385, MM6 Maison Margiela.
Trousers, £365, Tibi. Sandals,
£99, Kurt Geiger London. Bag,
£1,025, MCM. Karly wears
dress, to order, Proenza Schouler.
Tights, £18, Falke. Shoes, £675,
Balenciaga. Earrings, from £230,
Nathalie Schreckenberg Jewelry.
Malaika wears hoodie, £55, Nike.
Top, from £280. Shorts, from
£195. Boots, from a selection.
All Alexander Wang. Earrings,
£75, Rachel Jackson London.
Ring, £180, Ambush. Agi wears
shirt, £240, Self-Portrait. Dress,
£675, Fabiana Filippi. Tights, £15,
Falke. Top, tied at waist, £55.
Trainers, £150. Both Nike. Fuyao
wears dress, £800, Helmut Lang.
Sandals, £525, Jimmy Choo

S
omething was up at Valentino.
Within seconds of the spring/
summer 2020 show opening, it
was clear to the assembled
fashion press that Pierpaolo Piccioli,
famously a wizard with colour, was
feeling, well, off colour. Specifically: he
was feeling white. Twelve pristine,
ultra-feminine variations on a white
cotton shirt opened the show – a palate-
cleansing gesture from Piccioli, who said
he wanted to infuse the white shirt
with “a couture sensibility” – and just
like that, pale was interesting again.
Elsewhere, the consensus was clear:
white for spring isn’t diaphanous or
virginal. It has poise. At Loewe, it’s
executed with charm, with the finest
lace and embroidery. At Proenza
Schouler, it comes in clever swathes over
the body to create a sexy, cut-out-riddled
silhouette. And at Helmut Lang, it
had a ’90s girl’s impulse for restraint.
BENJAMIN VNUK

Wear it head-to-toe, with throwback

thong-toe sandals. And steer clear of
children and animals. Ellie Pithers
 TRENDS

SWIPE
WHITE
Pristine cottons are fashion’s latest fancy

155
 #FORCESFORCHANGE

A FUNDAMENTAL
MOMENT OF
SOCIETAL CHANGE,
A TIPPING POINT
THAT I BELIEVE WE
WILL RE-EXAMINE
IN YEARS TO COME
Edward Enninful

A new decade calls for more focus on transforming social norms.

Throughout 2020 we will be looking at the people, organisations and ideas

we deem to be forces for positive change. Go to Vogue.uk/ffc

FORCES for CHANGE

Official partners
 TRENDS

CUT OUT
ALEXANDER MCQUEEN
AND KEEP
Play hide-and-seek in the new
dare-to-bare eveningwear
BALMAIN

EMILIA WICKSTEAD
GUCCI

SAINT LAURENT
BENJAMIN VNUK; JASON LLOYD-EVANS; MITCHELL SAMS

VERSACE

Right: from left, Fuyao wears dress, £1,995,

Christopher Kane. Gloves, £400, Gucci.
Bag, from £460, Alexander Wang. Malaika
wears dress, £1,850, Dolce & Gabbana. Agi
wears top, from £510. Skirt, from £1,700.
Both No 21. Clutch, £325, Christopher Kane 157
 LONDON

ASPINALOFLONDON.COM
DUBAI
SHANGHAI

TEL : + 44 (0) 1428 648180

Midi Mayfair Bag in Ivory Small Croc - £550 | Monaco Sunglasses in Ivory - £165
 TRENDS

From left:
Karly wears
coat, £1,250,
JW Anderson.
Necklace, £340,
Maya Magal.

GRAPHIC Agi wears dress,

£1,075, Stella
McCartney.
Earrings, £121,
Maya Magal.

NOVELTY Malaika wears

dress, £2,590,
Tod’s. Sunglasses,
BENJAMIN VNUK

£260, Dolce &

Gabbana. Earrings,
No grey areas: bold slashes of black and from £195, Annelise
Michelson. Bangle,
white turn personal style decisive £214, Maya Magal
160
DAVID KOMA
TRENDS

ALBERTA FERRETTI
BOTTEGA VENETA

CHANEL

ALEXANDER MCQUEEN

CAROLINA HERRERA

LOEWE

PROENZA SCHOULER

VALENTINO MOLLY GODDARD

BURBERRY

GIVENCHY
GABRIELA HEARST
NAOMI SMART
SHOPPING EDITOR
dressing for now”
“Black-and-white
looks have serious
edge – it’s fuss-free

JASON LLOYD-EVANS; MITCHELL SAMS

 VOGUE PARTNERSHIP

Country
chic
For spring/summer 2020, fashion
brand AlexaChung delved deeper
into Barbour’s archives to reinvent
its signature outerwear for now
ALEXACHUNG’S FIRST Barbour collection saw the
designer take personal memories of the storied label and run
with them to create a considered edit that modernised the classic
country wear for the city. For spring/summer 2020, Chung, who
is now a regular in the 125-year-old company’s South Shields
headquarters, started to experiment within her honed Barbour
vision. New fabrications and colourways have been developed;
interior materials are transformed into exteriors and jackets are
cropped to reflect Chung’s personal style. “This collection marries
British heritage with contemporary living – classic, durable,
irreverent but respectful,” Chung tells Vogue of the 14 pieces of
outerwear and a shirt on sale now. “We are looking back but
moving forward. Not literally, as you’d probably fall over.”
A highlight of AlexaChung’s contemporary take on Barbour’s
utility pieces is the Margot Wax. Inspired by the label’s first
fishing jacket introduced in the 1980s, the Margot comes in both
archive olive and bordeaux hues with a striking monochrome
Northumbria check lining. The Ivy Casual Jacket, meanwhile,
is rooted in Barbour style circa 1959, when
motorcycle-inspired accents on particular pieces
emulated mods and rockers. And the Mildred – a
summer cover-up in a new lighter waxed-cotton
linen – marks a milestone for the label: it is the first
time Battenberg cake-pink has appeared in the
Barbour palette. Inside, you’ll find the signature
country-born Tattersall check, which Chung was
equally enamoured with during the design process.
The checked Bella Shirt, the most feminine
piece in the collection, is a nod to Barbour’s
Scottish roots, but the frilly collar and cuffs are
arguably the most in-line with Chung’s own
aesthetic. When AlexaChung first collaborated
with Barbour, the designer said it was a “waxy
dream” to be able to put her stamp on a brand that
Clockwise from
is woven into the British psyche. One year on, she top: Margot wax
has written her own chapter in Barbour’s history jacket and Bella
shirt. Emma
by bringing her womenswear expertise into the casual jacket.
fold. And the journey continues… Q Mildred casual
Available at Net-a-Porter.com, Harvey Nichols, John jacket and Darcy
quilt, all Barbour
Lewis & Partners, AlexaChung.com and Barbour.com by AlexaChung
redemption.com
TRENDS From left: Agi wears jacket, £1,155. Trousers, £710.
Both Dries Van Noten. Bra, from a selection, Proenza
Schouler. Corsage, from a selection, Victoria Beckham.
Fuyao wears dress, £1,650, Marni. Bag, £870, Miu Miu.
Isabel wears printed dress, from £1,900. Net dress, from
£1,595. Belt, from £180. All Ports 1961. Karly wears blouse,
£515, MSGM. Bra top, £101, Jacquemus. Trousers, £1,120.
Belt, from a selection. Both Marc Jacobs. Bag, £1,250, Fendi

CLUB TROPICANA
Seeking sartorial sunshine? If the season’s tropical prints
were any fresher, they’d still be on the tree

Wear with…

From far left:

mules, £455, Tabitha
Simmons. Shorts,
£915, Tibi. Poloneck,
£1,650, Valentino.
Bag, £2,550, Dior.
BENJAMIN VNUK; PIXELATE.BIZ

Earrings, £172,
Laura Lombardi, at
“For a sugar-free Net-a-Porter.com

take, pare down bold

prints with sleek
monochrome accents”
ELLIE PITHERS
FASHION FEATURES EDITOR & SENIOR
ASSOCIATE DIGITAL EDITOR
www.tasaki.co.uk

170 New Bond Street

 Wool jacket, £2,135.
Silk shirt, £640.
Embroidered wool
skirt, £2,270. Raffia
and leather bag,
£1,170. All Prada.
Earrings, £580,
Charlotte Chesnais, at
Dover Street Market
 TRENDS

STRAW
POLL
The raffia bag has traded up:
sleek incarnations now carry
the day – not only on the beach
but in the boardroom, too
1 Raffia and leather, £2,190, Fendi.
2 Wicker and leather, £2,850, Dolce & Gabbana.
3 Raffia and leather, £1,250, Celine by Hedi
Slimane. 4 Raffia and leather, from £1,870,
Givenchy. 5 Straw and leather, £1,735, Salvatore 3
Ferragamo. 6 Raffia with Plexiglas handles,
7
from £705, Marina Raphael. 7 Raffia
and leather, £1,915, Valentino Garavani.
8 Raffia and leather, £1,550, Loewe

4
BENJAMIN VNUK; PIXELATE.BIZ

167
TRENDS

Left: leather
and crystal
shoes, £650,
JW Anderson.
Slip dress,
£3,800, Loewe.
Below: leather
shoes with chain
strap, £610
a pair, Gucci.
Tights, £475.
Pleated skirt,
£1,450. Both
Balenciaga

THE
FINER
POINTS
The news in shoes? Sharp-toed
BENJAMIN VNUK

flats, with embellishments so lovely

they’ve been christened “shoellery”

168
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 SPOTLIGHT

QUIET
POWER
At the intersection of style,
discretion and sustainability,
Another Tomorrow has arrived.
By Ellie Pithers. Photographs
by Theo Wenner. Styling by
Julia Sarr-Jamois

Wool jacket, from

£580. Viscose blouse,
from £390. Wool
trousers, from £390.
All Another Tomorrow.
Hair: Mustafa Yanaz.
Make-up: Maki Ryoke.
Nails: Eri Handa.
Set design: Ian Salter.
Digital artwork:
October NY. Model: Sara
Grace Wallerstedt

A
ggressive”, “testosterone- it was a great place to be a woman,” says the
Vanessa fuelled”, “intimidating” – all softly spoken Iowa native, over the phone from
Barboni Hallik, have been deployed to describe New York. “It certainly shaped my personality
CEO and
founder of the atmosphere on the trading – I had an independent streak, but I became
Another floor at the world’s major banks. For more willing to fight for myself.”
Tomorrow,
wears a suit
Vanessa Barboni Hallik, who spent 15 Banking’s cut-throat milieu seems to have
from its debut years at Morgan Stanley, however, the adequately prepared Barboni Hallik for
collection experience was “fabulous”. “It was a very fashion. In January, she pressed play, alongside
masculine environment, but I realised that creative director Jane Chung, on the >

171
SPOTLIGHT Wool jacket, £755.
Viscose blouse,
£390. Both Another
Tomorrow, at
Matchesfashion.
com. Vintage jeans,
from a selection,
Beyond Retro

e-commerce website for their sustainable

brand Another Tomorrow. This month,
the label will launch exclusively on
Matchesfashion.com. Barboni Hallik
describes the clothes as a “foundational,
sustainably driven wardrobe for the
urban woman” – albeit one for whom
supreme quality is also non-negotiable.
Streamlined tailoring is front and centre,
next to relaxed shirting and generously
cut knits. The go-anywhere suits are
Barboni Hallik’s favourite element of
the collection, though there’s nary a lurid
Wall Street pinstripe to be found –
candy brights and tasteful neutrals are
more the vibe.
Barboni Hallik “pivoted” to fashion
– to use the management speak that the
38-year-old occasionally reverts to –
after a six-month sabbatical in 2017.
“I was interviewing for sustainable
finance jobs, but I fell down a rabbit
hole of all the impacts of the apparel
industry, and it just gripped me,” she
recalls. “I approached it from a sense of
open-ended curiosity. As a customer,
I couldn’t find information or product
that aligned with my values at any price
point.” A mutual friend introduced her
to Chung – who co-founded DKNY
and now runs Summa, her own
independent label – in February 2018.
After four months of conversation,
they “inked the deal”. fabrics. Buttons are made from 50 per You won’t find Another Tomorrow at
The duo began by analysing supply cent recycled plastic, as well as from New York Fashion Week. Its approach
chains. “I was pretty naive,” laughs corozo, a nut from a tropical palm. is purposely low-key. “We’re planning
Barboni Hallik. She has since enrolled How does Barboni Hallik define to be small-scale and intimate so that
“We’re on the masters course in sustainability
management at Columbia University’s
sustainability in an industry in which
climate-change awareness, and with it
we can be an educational resource for
women.” To encourage mindful
planning to Earth Institute. “We thought there were greenwashing, is on the rise? “For me, consumerism, it’s launching resale off
be small-scale going to be a lot of existing materials it encompasses animal welfare, human the bat. Plus, there’s a full carbon-offset
that met our criteria from a quality, welfare, the environment and the programme, backed by Barboni Hallik’s
and intimate sustainability and ethics perspective – and absolute minimisation of waste – but 13-year-old stepson (she has three
so that we we really did not find that to be the case.” it has to be holistic,” she clarifies. stepchildren with her husband), who
Instead, they traced raw materials back Packaging is a challenge. They’ve settled asked how the brand would keep its
can be an to source, including two family farms in on recycled paper and non-wood-pulp logistics footprint under control. “He
educational Tasmania for wool and FSC-certified cardboard, but haven’t managed to find encouraged our family to go vegan in
forests in Sweden for viscose, a silk a viable alternative to bioplastic wrappers response to the animal rights protest in
resource for alternative. Raw materials are shipped to for their sharply cut organic cotton New York,” she laughs. “The questions
women” Italy, where they’re woven into custom T-shirts. “That’s our goal for next year.” he sends my way are brilliant.” Q

172
 Tradition since 1774.

Manolo and Kristina Blahnik — shoe designer

and chief executive, wearing his black oiled leather Boston,
purchased in 2010, and her black oiled leather
Gizeh, purchased in 2004. Photographed in London, 2019.

www.birkenstock.com
VOGUE DARLING
“I’ve turned
my room into
ON REPEAT a sanctuary.
Daniel Caesar I have a Puzhen
“Cyanide” aroma diffuser
Bakar “Hell N Back” and doTerra
Cornelia Murr “I Have a Essential Oils.”
Woman Inside My Soul”
“Sometimes when I’m getting into bed, I spritz Amy Winehouse
Caudalie Grape Water face spray [£6] on my body, too. “I Heard Love Is Blind”
It’s minty and cucumber-grapey… It’s perfect.”

“This hat emoji is

my favourite, with a
yellow heart at the “Every time I’m in Soho
end to be like, ‘Hee-hee!’ I go to Machine-A and buy
I send the Japanese something. They have the most
flag as ‘I love you,’ and amazing collection and seem to
the Japanese flag and always have a good sale on.
recycle emojis as ‘Hello.’” Last time, I got some incredible
faux-snakeskin Alyx boots.”

Iris Law
She may have only finished her A-levels last
summer, but life for in-demand model Iris
Law has been anything but one-note. She
spent the first months post-school exploring
her passion for sustainable textiles, including
creating natural dyes from video tutorials
(“by, like, old grandmas in Middle America”),
and is set to intern for Stella McCartney,
doyenne of eco-conscious clothes. “Stella
does it to the max,” says Law, who is well
aware of her unusual start in life. “It just “I’m reading Wabi Sabi

TOMKINS. DIGITAL ARTWORK: MARK ARRIGO. CORNELIA MURR,

HAIR: KOTA SUIZU. MAKE-UP: SARAH REYGATE. NAILS: ROBBIE
– it’s about celebrating life’s
never was a big deal,” she says of growing imperfections and enjoying
up in one of Britain’s most famous the simple things. I went
households. The only daughter of Sadie to Tokyo recently, and
the book has helped me to
Frost and Jude Law hasn’t been defined by understand how I can
paparazzi and parties, but by cooking with bring those feelings home.”

LAKE TEAR OF THE CLOUDS; PIXELATE.BIZ

her father, trips abroad, playing with her
brothers… in short, it’s been “very family
“I’m a lipstick addict.
oriented”. And the future is bright. “This I’ll change it throughout
is a good year,” she confirms. Amel Mukhtar the day depending on
what mood I’m in, but
I love a berry colour.
Chanel does my favourite:
Rouge Allure in the shade
Iris wears jacket, Passion [£31].”
from £1,680.
Bermuda shorts,
from £590. Both
Givenchy. Signet
ring, £265,
Alighieri. Other
ring, Iris’s own.
Photograph: Laura
Bailey. Styling:
Julia Brenard

“My ride-or-die
jeweller
is Joanne
Burke.”
Pendant, “My black
£825. Ring, Chanel bag
£1,250. used to be my
Both Joanne mum’s. It’s hot
Burke pink inside, it’s
so tiny it feels
like you’re
“Lemonia in Primrose holding just
Hill has so many memories a wallet, and
for me – I had birthday teas it goes with
there, and so many family every outfit.”
dinners. The food reminds Leather bag,
me of being young.” £3,250, Chanel

176
ULL A JOHNSON.COM
 JEWELLERY

Plain
GENIUS
What lies behind the understated
lines of Tiffany’s soon-to-be-
launched T1 collection? Oh-so-clever
micro engineering, finds Rachel
Garrahan. Photographs by Thomas
Lohr. Styling by Poppy Kain

Jewellery,
price on request,
Tiffany. Taffeta
minidress, £640,
Philosophy by
Lorenzo Serafini

183
JEWELLERY

Jewellery, price
on request, Tiffany.
Linen/cashmere
sweater, £940, Dior.
Hair: Martin Cullen.
Make-up: Laura
Dominique. Nails:
Pebbles Aikens. Digital
artwork: IMGN Studio.
Model: Celina Ralph

S
implicity is the ultimate sophistication is a tenet that
has long defined creativity at Tiffany. And now, for
the new decade, comes the elegant, seemingly simple
yet meticulously engineered T1 collection.
Launching this April with a small selection of rings and
bracelets – the choker is set to follow in autumn – the
collection was inspired by a distinctive, early 1980s T motif
that Reed Krakoff, Tiffany’s chief artistic officer, found in
the company’s archive. It offers a fresh take on the clean,
square lines of the brand’s last T collection – which, in little
more than five years, became as instantly recognisable as the
robin’s-egg blue of the New York jeweller’s packaging.
184
The not-quite-meeting two end Ts of a half-decade ago
have been reimagined for now as one continuous circle
punctuated by a single T, in multifaceted gold with diamonds.
“There is a straightforwardness to it, but there is also a strength
and a boldness,” says Krakoff. “It’s undeniably Tiffany.”
The choker, set with more than 240 baguette and brilliant
custom-cut diamonds, is T1’s hero piece. Its uncomplicated
form belies the year that master craftsmen in New York devoted
to its design and creation; the end result is an apparently
seamless, sparkling surface that conceals tiny articulated gold
sections. “It fits the contours of the neck perfectly,” explains
Krakoff. Simplicity at its finest is never straightforward. Q
 WATCHES

Above: £1,250, Tag Heuer.

Below: £15,200, Bulgari

Above, from top:

£4,090, Omega.
£7,300, Hublot.
Below: price on request,
Patek Philippe

STEEL YOURSELF
A mannish watch in steel, titanium or
Below: £5,900,
Zenith. Right: price on
white gold adds weight to even the most
request, Richard Mille feminine looks, advises Rachel Garrahan
MATTHEW BROOKES/TRUNK
ARCHIVE; PIXELATE.BIZ

Right, from left: price

on request, Audemars
Piguet. £6,100, Cartier

187
 ARTS & CULTURE
Daisy wears
cardigan, £570.
Skirt, £1,205.
Both Miu Miu.
Socks, £9, Emilio
Cavallini. Shoes,
£365, Rupert
Sanderson. Paul
wears jacket,
£795, E Tautz, at
Matchesfashion.com.
Shirt, from a
selection, Martine
Rose. Trousers,
£230, Paul Smith.
Hair: Yumi
Nakada-Dingle.
Make-up: Ciara
O’Shea

The new normal

As Sally Rooney’s zeitgeisty bestseller comes to the small screen,
its young leads had better get ready for stardom, says Olivia Marks.
Photographs by Hill & Aubrey. Styling by Julia Brenard

aisy Edgar-Jones has just finished being most beloved and relatable literary characters of recent times

D photographed for Vogue in a draughty east London

pub, and Paul Mescal – her co-star in Normal
People, the upcoming BBC Three adaption of the
phenomenally successful novel by Irish author Sally Rooney
– is giving her a congratulatory hug. “You look great,” he
whispers supportively in her ear, a beaming smile on his face.
They have reason to celebrate. It’s the first magazine shoot
for the newcomers, who are about to bring to life two of the
– students Marianne and Connell – from a novel that’s been
dubbed a future classic on both sides of the Atlantic, was
nominated for a clutch of literary prizes and has sold almost
a million copies since its publication in 2018.
“Yes, it’s massively stressful!” Mescal laughs, feeling the
weight of responsibility. Edgar-Jones nods. “I’m always one
for watching remakes and going, ‘It’s not like the book,’” she
says, putting on her grouchiest voice. When I tell them >

191

THE FEMALE GAZE
Women’s perspectives on screen
Over the next month, four new films written and
directed by women explore love from the female
point of view. Valentine’s Day sees two releases:
Autumn de Wilde’s pastel-hued version of EMMA
will delight the Instagram generation, as will Rachel
Hirons’s romcom A GUIDE TO SECOND DATE SEX,
starring Alexandra Roach. Next comes 18th-century-
set PORTRAIT OF A LADY ON FIRE (above), which
follows the attraction between painter and sitter, and
has no male characters at all. Round off the season
of romance with THE PHOTOGRAPH, an all-out
tear-jerker starring Issa Rae and LaKeith Stanfield.
university and embark on their futures.
The two young actors are pitch perfect, although they agree “because you never know. I hope I’m really proud of it.
neither is quite as smart as the characters they portray, who I hope my mum and dad like it.”
spend a lot of time discussing lofty ideas over wine. This is Normal People will air on BBC Three and BBC One in the spring
192
the first television credit for Maynooth-
born Mescal, 23, who spent two years after
graduating from Trinity College (where
Normal People is partly set) honing his craft
on the stage. Of the two, he was the first
to be cast. “I was doing a play, and a lot of
the guys that are in Normal People were in
it. Everybody in the dressing room was
like, ‘I know who Connell is.’”
Edgar-Jones, now 21, got her first break
at 17, when she was cast in Cold Feet, but
the Londoner was up against stiffer
competition. She first knew about the part
when she overheard her boyfriend helping
her friend record a taped audition for it.
“A month or two later, I did my chemistry
read with Paul. I’d never felt adrenaline like
it,” she says, her large eyes peeking through
her fringe at her co-star. “I thought, ‘Yeah,
he’s perfect for Connell. Please cast me.’”
Daisy wears
Viewers should be prepared for the gut
jacket, £2,550. punch that comes with being transported
Polo shirt, £850. back to 17, as Rooney, who adapted the
Shorts, £1,050.
Belt, £250. All novel herself, brings the same economy
Louis Vuitton of writing and observation to the screen.
The results are almost painfully nostalgic.
“It gives the right weight to the depth of
I have been permitted to see the first what it’s like feeling love for the first time,” says Edgar-
two of the 12 half-hour episodes, and Jones. “I remember my first love,” agrees Mescal in his soft
thoroughly enjoyed them, it’s as though Irish tones, “and I always knew where they were in a room.
the room has exhaled. The camera captures that so nicely.”
Set between Sligo, Dublin and Italy, The sex, too, is laudably realistic – and abundant.
Rooney’s coming-of-age tale – for “My dad will have to make a lot of tea,” grins Edgar-Jones.
the few yet to read it – revolves around An entire 10 minutes of the second episode is given over
Marianne and Connell’s fraught to Marianne losing her virginity. “One of my favourite scenes
experience of first love, and all the is the first time they sleep together,” says Daisy. “Instead
awkward sex and unarticulated feelings of it being this mad romantic scene, it starts with making
it entails. We meet the pair in sixth light conversation because they’re both fully aware of why
form: Marianne – aloof, alone and in they’re in that room.”
possession of a devastating arsenal of After five months filming together in Ireland and Italy
one-liners – lives with her wealthy but last year, the pair are firm friends. “It’s because I’m with
PORTRAIT OF A LADY ON FIRE, IN CINEMAS AND
dysfunctional family. Connell is quiet Paul,” Edgar-Jones explains when I query why, as a Brit, she
but popular, a stalwart in a group of is still speaking with a hint of an Irish accent. As for Mescal,
CURZON HOME CINEMA, 28 FEBRUARY 2020
jocks, whose single mother cleans he’s about to make the move from Dublin to London, though
Marianne’s home – “the white mansion for how long is anyone’s guess. With a release on Hulu,
with the driveway”. We witness this Normal People may follow in the steps of BBC hits Killing
unlikely twosome fall in lust, then love Eve and Fleabag, making the pair stars stateside.
(and out again… several times) over Do they let their imaginations run away with them? “Yes,”
the next four years, as they move to says Paul, matter-of-factly, as Daisy shakes her head with
a firm “No.” “I’m trying not to think about it,” she adds,
Q
 VOGUE PARTNERSHIP

The idea
is to create
menus solely
using English
produce
that has an
ethical and
sustainable
focus

The place to
CELEBRATE
Langoustines with yuzu
butter, salmon roe and
soft herbs

Effortless style, farm-fresh seasonal produce and an

all-round commitment to dining excellence make Skye
Gyngell’s critically acclaimed restaurant, Spring at
Somerset House, the venue for all your special moments
ELEGANTLY NESTLED into the new wing of the West
End’s iconic Somerset House lies an artistic gem. From farm-
to-table dining and airy modern decor, the team at Spring – led
by chef Skye Gyngell – pay stylish attention to every detail of
the event experience. This is exactly the kind of commitment we
want when celebrating the important moments in our lives,
whether that’s weddings and anniversaries, business launches or
other milestones, it is truly the venue that goes above and beyond.
No stranger to gourmet-quality seasonal dishes, Skye worked
at London’s famed The French House before taking the role
of head chef at Petersham Nurseries. At Spring, she now
works exclusively with Fern Verrow, a 16-acre biodynamic
farm in Herefordshire. The idea is to create menus solely
using English produce that has an ethical and sustainable
focus, from farm soil directly to your plate. Further to this,
Skye’s team has been operating on a single-use plastic-free
basis since 2018, and the innovative Scratch menu uses often
overlooked parts of ingredients to create delicious meals. Skye
is leading London’s gastronomic quest to show how every
small change can lead to a big impact.
Beef carpaccio with peas, asparagus,
pea shoots and pecorino
Spring is divided into the spacious main dining room and a
more intimate enclosed atrium, featuring black-olive trees and
other beautiful flora and fauna designs by the acclaimed
landscape designer Jinny Blom. The venue is legally certified
to host wedding ceremonies, and comes with a black book of
London’s finest suppliers, rooms dressed in 100 per cent linen,
flowers sourced from JamJar and placement cards written up
for your guests, making the flow of your special day
a breeze. Whichever space you choose, you can also
Chilled
rest easy in your collaboration with Skye on a bespoke melon and
menu, cocktails and sommelier paired wines. This coconut
team creates artful moments of celebration that will curry
stay with you forever. Q
Visit Springrestaurant.co.uk or contact Spring’s events
team on events@springrestaurant.co.uk
 Green
A collection of authentic National Trust colours including original shades from the homes of
Winston Churchill, George Bernard Shaw and Beatrix Potter. Available now.

littlegreene.com
0161 230 0880

Order your free colourcard, or find your nearest stockist at littlegreene.com


Spirit of the age
NATIONAL PORTRAIT GALLERY
A major new exhibition will explore the flamboyant world of glamour
CONDE NAST BRITAIN;
and rebellion through the lens of Cecil Beaton, says Robin Muir
C
ecil Beaton’s appeal never seems to pall.
Dutiful Vogue readers will know him as a
photographer who elevated – in Britain, at
least – fashion and portrait photography to
something of an art. I suspect, however, most people
know him best for his Oscar-winning costume designs
for My Fair Lady (1964), and in particular that
dazzling conceit, the black-and-white Ascot scene.
He was, by many accounts – mostly and charmingly
his own – ungenerous and difficult, jealous and
snobbish. And yet, when his early work is in front of
you, full of fun and artifice (he’s not yet going for the
skull beneath the skin), he is impossible to resist.
Soon, at the National Portrait Gallery, Beaton’s
work will once again be centre of attention – in
the last exhibition before the gallery’s closure for
a £35.5 million revamp this June. Cecil Beaton’s
Bright Young Things concentrates on the joie de vivre
of the 1920s and 1930s, when he finds his first
success and realises what he can do with photography
ARTS & CULTURE
Beaton’s Bright Young Things in
Vogue: left, from top, Lady Pamela
Smith and Zita Jungman, November
1927; poet Nancy Cunard in 1929.
Below, from top: actress Tallulah
Bankhead, April 1929; writer Lady
Eleanor Smith, September 1927.
Bottom left: Cecil Beaton (on left) and
Stephen Tennant in an image from the
National Portrait Gallery exhibition
and, as significantly, what photography can do for him
– the doors it can open.
Looking at Beaton’s photographs is to glimpse through
a keyhole into another, now distant world; atoms of the
past swirling in front of our eyes. He is an absorbing guide,
and much else, too: a talented writer, incisive social
commentator, compelling diarist, garden designer, interior
decorator, painter and illustrator – and all with a deceptive
lightness of touch. For Vogue, he was all but indefatigable.
His first photograph appeared in 1924, his last in 1979, a
year before his death. “When I Die, I Want To Go to Vogue,”
he supposedly replied to David Bailey, when asked what he
might call his memoirs of a life in fashion.
As the gallery restyles itself for the 2020s, and the new
wave of portraiture that will surely come its way thereafter,
it’s not a bad time, perhaps, to step back a century and
examine one of our greatest chroniclers, and the fast-paced,
endlessly fascinating era that shaped him. Q
Cecil Beaton’s Bright Young Things is at the National Portrait
Gallery, WC2, from 12 March to 7 June
197
 DRESSING
ROOMS
The s/s ’20 shows are informing more
than what we wear – their imaginative set
designs are providing perfect interiors
inspiration, too. By Naomi Smart

PRADA
18 SEPTEMBER, MILAN

INSPIRING BECAUSE Dutch architecture

practice and design studio Oma/Amo’s
transformation of the Fondazione Prada
Deposito was a masterpiece of tile design.
Fashion editors couldn’t photograph the
glossy geometric patterns quickly enough.
(The gold-leaf columns were
impressive, too.)
BRING IT HOME Put in a
1 Tiles, from a selection, call to Sarah Watson, founder
Balineum. 2 Basin, £2,340, of the Balineum emporium
1 Kast Concrete Basins. and the fashion world’s go-to
3 Soap dish, £298, The for designer bathrooms that
Water Monopoly. 4 Ormaie feel as unique as a piece of
Le Passant eau de Valentino couture. Not only can
parfum, £180, at Liberty. she size- and colour-match Prada’s
5 Floor lamp, £1,420, square exemplars with her handmade
Monologuelondon.com tiles from Stoke-on-Trent, she can also
make bespoke designs. Try The Water
Monopoly and Kast Concrete Basins
for unexpected, sugar-hued baths
and washbasins; and be sure to use
Use lighting and taps lighting and taps in black and gold
for a touch of Bauhaus polish. The
2 finishing touch? Shelves lined
in black and gold for with some modernist-shaped
bottles, courtesy of French
a touch of Bauhaus polish parfumerie Ormaie.

4
3

INSPIRING BECAUSE
For this Park Avenue Armory
show, Stefan Beckman (Jacobs’s
MARC JACOBS
13 SEPTEMBER, NEW YORK
long-time set designer) sourced a
mass of mismatched ivory chairs.
BRING IT HOME A great idea
1970s for dining chairs. Rather than buy new,
1960s kitchen scan antique markets and look online
peacock chair,
from £52,
for unique seat shapes. Or, even
chair, from
£298, Selency. Selency. better, upcycle your existing chairs
co.uk co.uk with a lick of glossy white paint.
5

198
 LIVING

Don’t have the height

for a pampas grass?
1
Opt for bundles of dry stems

LOEWE
27 SEPTEMBER, PARIS

INSPIRING BECAUSE As the show was

about to begin, the sheer curtains hung at
the room’s edges drew back (just like the
automatic shades in a Japanese hotel room
where Jonathan Anderson stayed recently)
to reveal a calming cream backdrop
punctuated with statuesque blocks of Further inspiration:
amethyst and potted pampas grass. 2 left, a Lunaria arrangement
BRING IT HOME Use Anderson’s at Bath’s Francis Gallery.
dedication to craft as your interiors 1 Amethyst, £3,800,
compass (Loewe stores and campaigns are Dale Rogers Ammonite.
filled with Lucie Rie pottery and Axel 2 1970s Tobia & Afra
Vervoordt sofas): Farrow & Ball’s School Scarpa for Cassina sofa,
House White will bring the right level of from £6,046, Pamono.co.uk
warmth to your walls; pop to crystal expert
Dale Rogers for amethysts that can sit on
your mantelpiece; and if you don’t have the
height for a tall pampas grass in your home? 2
Opt for bundles of dry stems, or look
to Somerset-based florist Lunaria’s
small-scale but dramatic arrangement for
the Francis Gallery in Bath. 3

BALENCIAGA
29 SEPTEMBER, PARIS
MANUEL BRAUN; A OSLO; GETTY IMAGES/DIMITRIOS KAMBOURIS

INSPIRING BECAUSE
The Cité du Cinéma film
studio was fashioned into
a spiralling auditorium
reminiscent of the 4
European Parliament’s
chambers and 1 Jug, £79, Ichendorf
coloured entirely in EU blue. Milano, at The
BRING IT HOME Take Demna Conran Shop.
Gvasalia’s cue and employ the 2 Carpet, to order,
Pantone Colour of the Year Tim Page Carpets,
2020: Classic Blue. Whether at Design Centre.
you fully commit to a floor- 3 Cabinet, £5,345,
to-ceiling approach or find just Julian Chichester,
switching a carpet enough to lift at Design Centre.
the spirits, now is the moment 4 Lamps, to order,
to embrace a welcome punch Cathrine Raben
Davidsen, at The
of cobalt. It’s a timely colour
Future Perfect
coincidence that will no doubt
soothe Remainer hearts.
A place to do nothing.
And absolutely everything.
For BMW,
electrification is
the future – and it
has never looked
this good
IT’S ALL VERY WELL drinking through a metal
straw and pledging to ease the amount of fast-fashion
shopping orders we make every month in the name of
sustainability. But to really change the environmental state
of our planet, drastic and long-term efforts need to be made.
And, let’s be honest, while we want to be more environmentally
responsible, we don’t want to compromise on our quest for
beautiful design or surrounding ourselves with innovative
technology. So, when a brand like BMW pledges to offer all
of the above and more, we sit up and take note.
It should come as no surprise that the German car maker is
at the forefront of electrification and future mobility. The BMW
i3 was one of the first electric cars on to the market, having
launched a distant six years ago. And, let’s be clear, by going
green we mean you can drive from London to Brighton and
back on zero fumes*. Not to mention the fact that this beautifully
compact car is manufactured in an entirely wind-powered plant
and interior fabrics include plant-based derivatives.
Going green has been one of the brand’s core values for
years, with the BMW i3, i8 Coupé and Roadster all setting
the standard for what electrified cars can deliver. And these
models still look the part while not compromising on a powerful
driving experience. Try not to turn your head when an i8 drives
past. It strikes a serious style statement with futuristic curves
and interiors that sigh luxury when you slip inside. All of this
while helping ease pressure on the planet – we are impressed.
But technology and innovation never sleep, and the BMW
team have much more up its sleeve. The goal is to have a
stable of 25 electrified vehicles driving the roads by 2023,
and it’s already well on its way to making that a reality, with
Plug-In Hybrid models available across much of the range.
Your driving
experience
transformed
– introducing
the BMW
Vision iNext
ACCESSORIES FITTED (POST REGISTRATION), VARIATIONS IN WEATHER, DRIVING
The sophisticated BMW iX3 will begin production this year
*SUBJECT TO DRIVING CONDITIONS: THE STARTING CHARGE OF THE BATTERY,
STYLES AND VEHICLE LOAD. THEY WERE OBTAINED AFTER THE BATTERY HAD
combining a brand-new, all-electric drive system while not
compromising on a hair-blowing engine power of zero to 62
miles per hour in five seconds. This will be followed by the
exciting BMW iNext, which will be enabled for highly
automated driving, saving much-needed multitasking time
or just letting you enjoy the ride. And we haven’t even
mentioned BMW Natural Interaction, which combines voice,
gesture and gaze technology to create the most personalised
experience yet. Imagine a built-in driver that knows exactly
how you like your music, air temperature and seat settings
on the way to work.
Never one to follow trends, the marque has true progress
written in its DNA. Its first officer for sustainability was
appointed in 1973, and since then BMW has been a trailblazer
BEEN FULLY CHARGED.
for eco-conscious driving, from its EfficientDynamics approach
to the forward-thinking Plug-In Hybrid range. So, as we all
adapt to a new world – metal straws, sustainable shopping and
all – why wait to drive the future? It’s already arrived. Q
For more information,visit Bmw.co.uk
 VOGUE PARTNERSHIP

DRIVING
INTO THE
FUTURE
In a world full of copycat fashion and
been-there-seen-that styles, Vogue champions a
true innovator. Which is why we salute BMW’s
search for the ultimate driving machine.
The future of travel has arrived…

Dramatic design
with a focus on
sustainability, BMW
is revolutionising
the way we travel
 CONNECT,
CONVERSE
& CREATE
WITH MASTERS
OF DESIGN

OVER 10 0 EVENTS +
NEW COLLECTIONS

TR ADE PREVIEW 8 – 10 March | ALL WELCOME 11 – 13 March

w w w.dcch.co.uk | @designcentrech | #LDW20AtDCCH
 “These golden
LIVING
earrings from Mi
Manera are a
modern take on
cocktail-party
jewellery, but I’d
wear them during
the daytime.” “I’ve long been a fan
Earrings, from of Professor Augustinus
£265, Mi Manera Bader’s face creams
– The Cream and The
Rich Cream are unlike
anything else I’ve tried.
I rejoiced when he finally
launched The Body
Cream, too.” Augustinus
Bader The Cream, £205;
The Rich Cream, £205

“I’m giving it up to
Alberta Ferretti for fusing
two of my favourite things
in one season-winner:
tie-dye overalls. Thank you,
Ms Ferretti!” Dungarees,
£730, Alberta Ferretti

“Apart from giving

LIFE & STYLE you the perfect red

lip, Dior’s Ultra Care
is infused with flower
oils that complement
Steal a March on spring’s freshest its petal-shaped
applicator. It’s my
homeware and fashion, courtesy of latest go-to product.”
Dior Rouge Dior
Julia Sarr-Jamois’ wishlist Ultra Care Liquid
in Bloom, £30

“Teal, burnt red, lilac and “I’m into the way Daniel Lee mixes
aubergine aren’t the most glamour and sci-fi at his reinvented Bottega
obvious soulmates, Veneta. These frames embody that idea.”
but these sandals are proof Sunglasses, £340, Bottega Veneta
that opposites can attract.”
Sandals, £715,
Salvatore Ferragamo
ALASDAIR MCLELLAN; MARILYN MINTER; TIM WALKER; PIXELATE.BIZ

“For her first solo collection for

the house, Silvia Venturini Fendi has
masterminded this woven-leather
Baguette in retro tan and green.”
Bag, £3,050, Fendi
“Each one of
Baba Tree’s graphic woven
baskets is handcrafted in
Bolgatanga, Ghana. The artisans
have their pictures taken with
every basket they create.”
Basket, from £155,
Babatree.com “Christopher Kane devoted his show to
ecosexuals who, the designer said, ‘make love
“Potter Jude Jelfs turns jugs in air, and just want flowers, beauty, nature,
into true works of art, such as wind, magic and spirituality’. If we’re wearing
this slab-built female nude.” these geo prints, I’m signing up.”
Jug, £250, Jude Jelfs, at Liberty Dress, £1,095, Christopher Kane

205
Design Centre - Chelsea Harbour samuel-heath.com Made in England
 LIVING
Left: Umit Benan in his living
room – after years of rented
properties, this is the first house
in which he has unpacked all
of his belongings, including two
beaded heads (below), bought
at a market in Mexico. Sittings
editor: Gianluca Longo

IN HIGH
CONTRAST
The Milan home-cum-studio of fashion
designer Umit Benan is an ode to
juxtaposition, finds Scarlett Conlon.
Photographs by Danilo Scarpati
ananas aren’t indigenous to Milan, yet in Umit

B
UMIT WEARS KAFTAN, UMIT BENAN B+

Benan’s courtyard garden, in Naviglio Grande, the

Turkish fashion designer is showing off a large bunch
hanging from a 12ft plant. “I think this is the only
place in the city where they grow like this,” he grins, then
points proudly to bamboos and ferns that have reached similar
heights in the two years since he moved here and added them.
“I didn’t even know what I was doing, and look at them now!”
That Benan’s first bash at horticulture is bearing fruit will
come as no surprise to those who have watched him cultivate
his eponymous menswear brand. In fact,
The designer’s it’s a neat analogy for his career in general.
mezzanine-floor Born in Germany and raised in Istanbul,
bedroom overlooks
the garden. Left: where his father ran a leading textiles
handmade South company, he may have had fashion in his
African ceramics blood but it wasn’t his first ambition.
by Lisa Firer
Tennis player, footballer, photographer
or actor were all, he assures me, viable
career options before, aged 18, he found
himself in his Boston University dorm
watching Tom Ford win Womenswear
Designer of the Year for Gucci at the
1999 VH1/Vogue Fashion Awards. In
that moment, he decided he would win
it himself, and set about writing a list of
people to thank in his acceptance speech.
“My room-mate thought I was f**king
crazy, but I knew I was capable of it.” >

207
 Right: photographs
from Umit’s self-
portrait project, which
ultimately provided
inspiration for his
debut fashion collection.
Below, from top:
dried flowers and books
line almost every
surface; the courtyard
garden is a place to
relax; a further cluster
of Lisa Firer ceramics

Undeterred by his then inability to sketch, Benan

took courses at Parsons in New York, the Marangoni
in Milan, and Central Saint Martins in London, then Two De Padova
interned for Marc Jacobs and was senior assistant to chairs. Below: Benan
Sophie Theallet before returning to Milan, where he is surrounded by lush
greenery in his garden
had lived in his teens. In 2008, after three years of
working with Rifat Ozbek at Pollini, Benan set about
establishing his own brand – he launched, with a
subversive collection of cashmere turned inside-out,
at Pitti Immagine in 2009 and promptly won the
showcase’s prestigious Who Is On Next? award.
Italy’s fashion capital has always found a way of
pulling him back. And after living in rentals for much
of the past two decades, he was seduced by this cool nook of
the city centre into getting a mortgage and putting down
roots. “When I was 12, I dreamt about this exact space, and
when I first entered I was crying,” he reveals, puffing on his
second Romeo y Julieta cigar of the day (he used to smoke
three, until it was pointed out that his habit was costing him
in excess of €10,000 a year).
Benan is a fan of contrasts: the industrial exterior of his home,
formerly a Nike HQ, belies the cosy home-cum-studio behind
the 39-year-old’s front door. “I think this idea of contrasts comes
from Istanbul, where I grew up seeing blonde women wearing
super-sexy dresses standing next to women in burkas,” he
ponders. “I’m used to seeing two things existing side by side.”
And so a collection of lesser-known black-and-white
photographs by Albert Watson, Benan’s idol, patchworks the
central concrete wall (“I adore the guy,” says Benan, “but I don’t
want a wall of his famous photos”), along with colourful oil
paintings by the Turkish artist Yavuz Tanyeli – whose XXL
work also keeps a watchful eye over Benan’s bed on the
mezzanine floor. Nearby is a hot-pink portrait of Benan
by artist Lola Montes Schnabel, and a renowned piece by
Armenian-Turkish photojournalist Ara Güler hangs beneath
a metallic Buon Compleanno garland – a treasured memento a result of his full beard and his fondness for wearing pyjamas
from the last holiday Umit shared with his best friend Andre as daywear, he conducted an experiment: “I photographed
van Noord and his family, shortly before the model’s death. myself every day for 77 days while I was experiencing all
Keepsakes and ornaments are everywhere. Silk-bristle these things, with and without the beard. The change in
toothbrushes by L’Officine Universelle Buly (so obsessed is the how people treated me was terrifying.” Scenarios ranged
designer with the 200-year-old Parisian brand that since his from being questioned on entering his apartment block to
UMIT WEARS SUIT, UMIT BENAN B+

girlfriend, the actor Cemre Ebüzziya, introduced him to it last
year, he has brushed his teeth three times a day) sit beside
framed family photographs and towers of rare fashion books
(for inspiration only – save for the first 90 pages of Andre
Agassi’s autobiography, Benan has never read a book in his life).
It is, however, his 2008 series of framed self-portraits
that proves the most poignant element. Having experienced
racism and discrimination in salubrious parts of Milan, as
being asked to pay for a designer shirt before he tried it on.
The project provided Benan with the eureka moment he
had been looking for. “I said, I am going to base my first
collection on this: nothing is what it seems.”
It’s no surprise that Benan finds tranquillity in this
autobiographical space, nor that he doesn’t like the idea of
having it invaded. “I’ve never thrown a party in my home,”
he says. “I prefer two or three people max.” For friends who

208
 LIVING
Silk throws from
Istanbul’s Grand
Bazaar are draped over
Fornasetti and Gio
Ponti chairs, while
photographs by Albert
Watson, Slim Aarons
and Ara Güler, and a
Lola Montes Schnabel
portrait of Benan
supply the backdrop.
Below: the chair was a
present from a friend.
Below left: a ping-pong
table – the designer
played competitively as
a child – stands at the
bottom of the stairs
to his bedroom

do receive an invitation, it’s not for a home-cooked supper.

Benan doesn’t have a kitchen. “Well, not a kitchen I can
actually cook in, just a little corner. This is Milan – even if
I had five kitchens, I would still like to go out to my favourite
places,” he laughs.
His favourite haunt – by far – is his home. It is here that,
after years of punishing schedules, Benan has found peace.
He stays up every night smoking his cigars, watching TV
and sketching the collections for his new brand B+, which
launches with Matchesfashion.com this month and for which
he ticked off a lifelong dream and enlisted Watson to shoot
the lookbook. “It was an incredible experience… I will always
be a 13-year-old boy around Albert.”
“In Istanbul, I
Bedtime can be anywhere between 3.30 and 5am. “I don’t grew up seeing
feel alone when the world is awake – I intensely absorb other blonde women in
people’s energy – and so at night, when everybody goes to
bed, I don’t have any of these distractions. Strangely, I feel sexy dresses next
like I own the world, it’s my world and I can concentrate.” to women in
It’s fitting, given that he comes alive at night in a heady
plume, that one of his favourite plants in the courtyard is a burkas. I’m used
flowering tobacco. The plant is famed for emitting its sweet to seeing two
jasmine scent only after sundown and, according to Benan,
it went wild here last summer. Like its proprietor, it appears
things existing
to have found fertile ground. Q side by side”
209
VIEWPOINT
ALL TORN UP
When her long-absent father abruptly severed contact, Thea Jane May was so lost
in grief, it was more than a year before she could begin to comprehend the hurt
e must have been at lunch when I opened
H the email. He – my biological father, half of
my DNA – wrote that he no longer wished
for any connection, that the emotional effort
that he believed he had given our tenuous
relationship was unrewarding. Forty-five
years lived with a mostly absentee parent and that was it – an
annulment received via my inbox. He was “tidying up his
life”. Who knew a father-daughter blood bond could be
cancelled like a subscription?
Snapping shut my laptop, I leant out of my 14th-floor
apartment window, scanning for the blue-crab seller, the
ginseng and herb merchant, the lottery ticket hustler…
familiar sights in my Hong Kong landscape. I could hear the
automated bell of the pedestrian crossings as the grey concrete
and electric neon signs flickered in a filmic blur through the
spattering, humid rain. It was a Friday night in September.
I dressed and left for a dinner at Duddell’s club, flagging
down a red taxi, earrings in one hand, a Chanel purse in the
other, choking on the absurdity, eardrums pounding as if in
deep water. I mentally filed the email under “review”. The
assessment would take more than a year.
He (my biological father, Father Mark One) had also lived
in Hong Kong – he had been posted to the then colony by
the Royal Navy when my brother was born, and returned
home to England near the time of my arrival. Now he had
taken it upon himself to sever abruptly his relationships with
both my brother and me. Can you whitewash life like that?
Pick up a machete? Delete? Gone?
The next couple of days were punctuated by telephone
calls – to my mother, my brother, a friend – to discuss my,
our, disbelief; and a dozen email responses were discarded,
as empty packets of saltine crackers and cigarette stubs
tumbled into the bin. I ricocheted between bed and desk,
sofa and window, engulfed in a searing pain that I had never
known before, nor wish to know again. It curdled in my
stomach, gripped the oesophagus, hammered across the
prefrontal cortex and jammed every muscle. I now appreciate
the anguish of Edvard Munch’s The Scream.
On Monday, I called in sick to my job at a publisher’s and
hiked up to Victoria Peak, flicking off mosquitoes, slipping
on the mossy stones, and later curled up in bed and howled.
Over the following weeks and months, I let work consume
me. I swam endless laps, willing the smithereens back into
a whole. I wore black, navy and white in an attempt to create
the semblance of order, and bright emerald tie-dye T-shirts
to protect my jagged psyche. At weekends I escaped to Ho
Chi Minh City in Vietnam, to Hangzhou or Shenzhen –
walking and biking through alien cities that I observed
dispassionately through an iPhone lens, numbed. There were
messages of love from my family, reminders that it was “his
loss”. That put him centre again. What was eddying around
me was trauma.
One morning in October, a typhoon eight struck with
sheets of black rain and winds that sent traffic swerving. A
taxi driver refused to pick me up. “What’s wrong with me?”
I despaired, oblivious to the stay-at-home warnings. This
may be the cruellest aspect concerning what one, rightly or
wrongly, perceives as a rejection. The child inside, whatever
one’s subsequent accomplishments, will always subconsciously
doubt that they are “good enough”, and think that they have
done something “wrong”.
The puzzle pieces often rattled in the early hours. Father
Mark One had left the family after a divorce, when
I was aged four and my brother six. After wider family
discussions, it was decided that he would remain at
a distance; in the 1970s, the practice of weekend
fathering was not as common as it is today. My kind
and loving new stepfather became Father Mark Two,
and our relationship grew strong over the years – kids,
like parents, are hardwired to adapt and flourish.
Growing up, my only contact with my biological
father was an annual Christmas card, featuring a
stained-glass window or a Pre-Raphaelite painting,
signed “with love” – no message. Father Mark One
was a ghost, shaped by my teenage myth-making –
fighter pilot hero included (of course, that mysterious
half of me could not be “average”). Only a couple of
photographs of him remained, leaving a blank canvas
for the imagination. My mother was delicate with
her truth. She was wary of delivering prejudice against
a person we might wish to meet as adults.
In my late teens, I met him awkwardly at his house.
He was tall with a broad smile and had recently
become a vegan – I remember a nut roast, salad,
staccato conversation and admiring a vintage sports
car that he was restoring in the garage. He was
widowed with two daughters. A sliver of connection
was established around a skein of letters, lunches and
telephone calls scattered over two decades plus.
Neither of us knew what role to play in this nebulous
father-daughter relationship, nor did I have the
language to express the intricacies of my bewilderment.
“You don’t have to continue meeting him,” advised a
boyfriend, but I was convinced it was good for the
soul. Being alert to the notion that father issues can
snag future relationships, my default was to zip up.
For the most part, meetings with Father Mark One
felt like encountering a stranger. No milestones –
graduation, boyfriends, holidays, second marriages,
weird haircuts, career promotions – had been shared,
and we struggled to know each other, to colour-in
our lives beyond mere facts. And yet I never stopped
wanting to be his daughter, or for him to recognise
ALAMY
me as such. “You know, he’s a very good man, your
father,” said his new partner after one Sunday lunch
characterised by our inability to fully connect. It was the last
occasion on which we met.
With such a slow-growth connection it was impossible to
predict the landslide impact that that email would have. What
was so hurtful was that he had taken a decision that I felt
was not his alone to take.
t was six months later, when I moved back to Britain
I from Hong Kong, that the tiles started to dislodge. I
felt at odds with myself, with the self that philosopher
Isaiah Berlin called one’s “inner citadel”. I sought
counsel from friends, made appointments with a
therapist, wolfed down self-help books, constructed
action plans and wrote letters to my father that I then ripped
up or burnt. “Why do you want to open the door? To have
it slammed shut in your face again?” concluded the therapist.
The “you are worth better” Elastoplasts and “get over it” ice
packs soothed and emboldened, but the hurt had calcified.
A part of me was in shutdown.
Then, one August day, while sitting by Lake Wörthersee
in Austria at the end of a short retreat at the Mayr clinic, a
chink of light started to appear. I had had two sessions with
a psychotherapist who practised hypnotherapy, kinesiology
and eye-movement desensitisation and reprocessing (EMDR)
– which is sometimes used in the treatment of post-traumatic
stress disorder. During the first, I explained my feelings of
rejection, and she got to work tackling my issues with two
troublesome past boyfriends (previous relationships can act
as blocks); next came the “father session”. At its close, I was
asked to repeat, “Thank you for my life,” three times. “That’s
a few big coals thrown from your backpack,” the therapist
smiled, as I shed tears and felt a wave of profound relief –
although I had learnt that trauma can take many forms, and
that it’s not easily fathomed or “let go”.
On my return to London, life began to be full of life again,
but I wanted to continue what I’d started in Austria, so I
picked up the thread with EMDR practitioner Joshua
Dickson. He advised me to read The Body Keeps the Score by
Bessel van der Kolk, a seminal book that outlines the author’s
pioneering work with ex-soldiers and abuse sufferers in
America. Immediately, the temptation was to question
whether I “qualified” or was indulging in a “pity party”.
Dickson reassured me with an analogy: “If you lose all four
limbs in a car crash, then that’s bad, right? That’s an extreme
case of trauma. So if you lose one limb, is that bad, too? That’s
what we’re dealing with here.”
In his book, Van der Kolk posits that while
normal memory is linear, traumatic memories
are held in the subconscious as jagged
flashbacks that can be triggered randomly – in
my case, Hong Kong was the final, massive
earthquake on a fault line that had always
rumbled. In practice, my EMDR sessions
with Dickson, spread over a year, involved
assessment, resourcing and stabilisation work
prior to confrontation of the trauma itself.
For this, the set-up is techy – it requires being
connected to a laptop that measures heart-rate
variance (HRV) while bilateral stimulation is
received via headphones and buzzers. I was
guided back to revisit the trauma, connecting
to new, adaptive information until it was
securely reprocessed.
More than once I wanted to give up. As the
reprocessing began, sessions would often leave
me exhausted. “It’s like surgery, either we
excavate the wound and sew it back up,
knowing there is an infection that might create
a limp in the future. Or, we clean it out
thoroughly,” said Dickson, after I pleaded,
“How much further?” Double ruptures – age
four, age 45 – take a while to tease out, and
then I had to manoeuvre through self- I let work
recriminatory impulses to comprehend that
blood can be thinner than water. The
consume
acceptance was a form of closure. me. I swam
Ultimately, Dickson helped me to reframe
my trauma. In the early summer of last year
endless laps,
I revisited Hong Kong and stayed at my old I wore black
apartment, where a friend is now living. I and navy to
walked there via the blue-crab seller and the
ginseng stores, and said hello to my old create the
security guard, who gently squeezed my semblance of
shoulder. Like family, friends and therapists,
he signalled that I was going to be more than order… What
OK. The apartment windows I gazed from was eddying
as I snapped shut my laptop were clear: that
shattered line was fused back into the past. Q
around me
The writer’s name has been changed was trauma
211
 Star of the season
In a short story for Vogue, Booker Prize-winning author
Bernardine Evaristo conjures a world of high-concept couture, where a cybernetic
socialite decides the future of fashion. Illustration by Laura Gulshani

O
nce a year at the annual Society Ball, the most
extraordinary outfits were displayed as the
gathered designers, wearing their own garments,
competed with each other to become the
anointed Star of the Season. A lot was at stake. The
designers, most of whom worked hard and earned little,
barely survived on the outskirts of the city, where they lived
in cramped accommodation near the municipal rubbish
dumps, which released toxic fumes, causing multiple health
problems. In this divided society of extreme wealth and
extreme poverty, the winner’s fortunes would be changed
forever as their sartorial concepts would thereafter be sold
around the world, securing them not only a place in history,
but also a home in the salubrious suburbs, where the walls
of the spacious houses pumped out fresh oxygen that
rejuvenated its occupants and kept diseases at bay. This was
clearly not an egalitarian society, but it was a decidedly
multiracial one. There were no hierarchies based on skin
tones, which ranged from transparency to all the shades on
the green, red and silver spectrums.
The ball was held in the grounds of Madame Assoula’s
palatial home; she who came from a long line of matriarchs
whose wealth originated in the oil fields of the East. Each
woman had conceived the next generation, only one child, a
daughter, through an ambitious and tenacious sperm worm
cultivated in a laboratory where it eventually became human
enough to take home. This warm evening, her house was
floodlit by exquisitely shimmering lights as the visitors
mingled on her polka-dot orange-and-black lawn, which
rolled down to the luminous green sands of the shoreline –
and beyond that, to a mile-long pier where ocean liners waited
to accommodate them for one night only in ostensibly small
pods that, upon entering, were transformed into luxurious
suites replete with Jacuzzis, servants and masseurs.

Assoula’s patronage of the arts was legendary, although
she privately admitted to the matrons of her inner circle that
it was simply the best way to immortalise her reputation. She
organised film festivals where the viewers wore glasses that
allowed them to insert themselves into each film as if they
themselves were playing one of the characters, thereby turning
a passive experience into an experiential one. She organised
exhibitions where the artworks materialised as speaking
hologrammatic entities and had conversations, even
arguments, with the audience about the nature and relevance
of their existence. She organised literature festivals where
writers, hooked up with temporary brain implants, took to
the stage to compose poems and stories. On the large screen
behind them, the audience saw not only their writing, but
also inside their imaginations to witness the thinking that
led to their acts of creation.
Assoula walked among the gathered designers and guests,
who all but curtsied and bowed in her presence. They had
all been knocking back shots of the life-enhancing snake
bile she liked to serve up at her events, sweetened by fine
crystals of sugar, which had been shipped in from the only
remaining sugar-cane farm in the known world. Everyone
relished the sweetness, which was so rare to experience, ever
since agriculture had declined along with the need for
humans to consume food.
Towering over the gathering, Assoula was at least 2ft taller
than her guests, due to the regenerative properties of spine
implants, which lengthened as she aged. Her natural skin
colour was turquoise, but for the ball she had gone transparent
and chosen an invisible dress to wear, detectable only by the
black thread at its hems. Not only was she transparent, but
she glowed from within with lights that illuminated all the
bones in her body. Her organs, on the other hand, were these
days more mechanic than organic.
She did not so much walk as waft like a surreal spectre
across the lawn, as she bestowed upon the visitors her
glamorous munificence.
When the competition was due to begin, a floodlit runway
unravelled itself out of a misty vapour on to the polka-dot
lawn, and chairs several rows deep materialised to seat the
visitors, including Assoula’s fellow grandees, for whom this
was the highlight of their social calendar.
Assoula, the sole judge of the competition, took her place
in the front row. When she was ready, she waved the mosaic
of bright bones inside her hand, signalling for proceedings
to begin. She was excited, as always, at what this year’s festival
of ideas would bring. She had dispensed with the idea of
mere clothes being worn in her fashion show a long time
ago. “It’s so passé and so déclassé,” she had announced. “What
fascinates me are concepts; concepts without the intermediary
of fabrics are the future,” she declared. “I want to see social
commentary,” she preached from the pulpit of her
philanthropic platforms. “I want to see innovation and
rebellion. I want to see new perspectives on history and
philosophy. I want to see a kind of new.”
The first designer to walk the runway wore the idea of war,
which exploded out of her in the form of images of weaponry
on battlefields. There were bombs, machine guns, rocket
launchers and land mines alongside the visceral gore of the
wounded, dying and dead who floated up to the skies. Assoula
found it crude, obvious and, to be quite honest, upsetting.
The second designer explored home, evoking, as he walked
the runway, images and smells of a roaring, wooden fireplace
of yore; of a small brick house with a young mother and
father with their two cute little children cuddling up together
VIEWPOINT
on a sofa singing nursery rhymes. To Assoula it was
nauseatingly old-fashioned and anti-progressive. The next
designer wore poverty, which was all well and good, but
Assoula found it quite misplaced and somehow accusatory.
The designer who explored science by wearing antiquated
scientific terms was boring. Who cared about thermodynamic
beta or viscous friction in polymer dynamics or the
stoichiometric coefficient? It was intellectual showing off
with no aesthetic value whatsoever. One designer wore politics
and sashayed down the runway with ruthless personal
ambition, class privilege and falsehoods spinning out of him
in a whirlwind of images. Entertaining – but insubstantial.
Another one also chose politics, and staggered down the
runway with a real knife quite literally stabbed in her back.
There was blood trickling down her naked skin. Powerful
but too simple and, frankly, self-harming. One designer ran
down the runway at supersonic speed, offering a completely
unoriginal perspective on sports. Likewise the one who
hobbled down on his knees while praying to different gods.
Assoula was about to give up hope when someone appeared
who blew everyone else out of the water with an unparalleled
execution of ideas and aesthetic sensibility. It really was quite
extraordinary to see this person progress slowly down the
runway while physically morphing from what appeared to
be one gender to another. First as a traditional woman, then
as a traditional man, then as someone who had the physical
traits of both, and finally as someone who seemed to be neither
male or female, nor something in between, but instead they
radiated a humanness out of an electrifying transmogrifying
presence. They appeared almost as a divinity who embodied
the essence of life without a physical body. It was so supremely,
breathtakingly strange and magical and beautiful that
everyone, including Assoula, sat awed and moved by the
spectacle before them. This was what it could mean to be
completely beyond human. This could be the future.
When the designer revealed her true self, she turned out to
be a plain and short purple-skinned woman, who wore simple
white clothes. She had spent many years working on her designs
away from the limelight. She had a modest manner and was
extremely grateful to be chosen. A worthy winner indeed.
By the end of the evening, the designers who had lost, had
lost themselves completely to snake bile, along with the entire
drunken congregation. All decorum was abandoned as they
extracted the most from being Madame Assoula’s guests and
had a rollickingly raucous time on the lawn. When the moon
rose, they slowly began to peel off to spend the night in a
pod that would expand upon entering.
Assoula retired early to her palace, alone, as always. The
fashion show was another enormous success and her visitors
were happy. She herself was incapable of getting drunk. The
alcohol just swished around inside her, and if she did not
open valves to release the liquid, her metallicised organs got
rusty and had to be replaced.
She headed straight for her sleeping chamber. She would
spend the night there, lying down in repose, with her eyes She had
closed, but not in sleep. She could no longer sleep and dispensed with
missed it terribly. The ability to shut off her mind. She so
missed the bliss of it. Instead, she pondered on her decision the idea of
to finally become a mother. It was her next project. She had mere clothes
waited nearly two hundred years and was feeling the need
for someone to continue her family bloodline of matriarchs being worn
– to continue their legacy. It was time for her to pass on all in her fashion
that she knew, and when the girl was grown-up and
independent, Assoula would dismantle her own body.
show a long
It wasn’t right for anyone to live forever. Q time ago
213
 A-COLD-WALL*
BLINDNESS
BODE

woolmarkprize.com

A new Day dawns
Robin Muir looks back at a seminal Kate Moss shoot, Vogue March 1993
ver since Marianne Faithfull, Julie Christie and Jane
E Birkin entered the scene in the 1960s, the London
Girl has been eclectic, bohemian and routinely,
gratifyingly unpredictable. As London swung again
in the ’90s, she was back, “shovelling Union Jacks and tiaras
onto the kind of slightly-too-short jackets and stovepipe
trousers that always go down well with a certain kind of
British girl,” observed Vogue’s Lisa Armstrong. Cool Britannia
was personified by the likes of Cecilia Chancellor and Bella
Freud from haute bohemian west London.
But it was the 5ft 6½in, south London-born Kate Moss who,
at just 19, exemplified fashion’s new spirit best of all. Here,
shorn of the text, is her first cover for British Vogue, taken by
model-turned-photographer Corinne Day. “She was just this
cocky kid from Croydon,” recalled Day. “She wasn’t like a
ARCHIVE
model… but I knew she was going to be famous.” There would
be, at last count, 42 more Kate Moss covers for British Vogue.
Back then, Day’s stripped-back “anti-fashion” aesthetic was
a novelty. The prestige of Vogue meant little to her, and she
would produce photographs only on her own terms. It worked.
Relaxing the rules meant a hesitant teenager could wear for
her first cover a pale pink and ice-blue tweed bustier by Chanel
(£1,900 with matching jacket), or an old eiderdown, as she did
three issues later, and look like a fashion icon in the making.
Every London girl who’s followed is compared to Moss,
but in truth none has whatever it is she has. Twenty-seven
years on, she remains one of the most recognisable faces of
our times, an enigmatic sphinx who has, famously, never
complained, never explained. And if the sphinx has a riddle,
she has not made the mistake of letting us know what it is. Q
215
TECH
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216
 VOGUE PARTNERSHIP

A growing
TRADITION
Specialising
in fine wine,
Petersham Cellar
is an Italian wine
merchant and club

Petersham Nurseries, a family business

for over 20 years, has established itself
as one of London’s best purveyors of fine
food – and its most forward thinking
LONG ESTABLISHED AS one of London’s treasured
places to eat, Petersham Nurseries has slowly expanded its
ambitions and offerings to deliver a thoughtful and respectful
food philosophy to audiences hungry for produce as virtuous
as its origins. Owned by the Boglione family, the original Organic produce for
Petersham Nurseries Café in Richmond, and The Petersham Petersham
restaurants are
and La Goccia in Covent Garden, all source ingredients from picked at Haye Farm
their own farm, elevating conscious cooking to a high art,
and gaining scores of fans in the process.
Driven by a Slow Food philosophy, which upholds the
importance of good quality ingredients produced with
minimal environmental impact and fair treatment for
workers, Petersham Nurseries puts equal passion and
thought into every step of the journey, demonstrating that
it is possible to operate ethically in a challenging environment,
with superb end results, from farm to plate.
At the heart of this philosophy and its exemplar is Haye
Farm, run since 2014 by Petersham Nurseries scion Harry
Boglione. Nestled in glorious East Devon, Haye Farm rears
Gloucester Old Spot pigs, sheep, cows, chickens, rabbits
and ducks, and grows a host of organic fruits and vegetables Petersham
for Petersham’s own kitchens and some of London’s finest Nurseries Café,
restaurants. A pioneering farmer, Harry has combined Richmond. Below:
Harry Boglione
modern enlightened thought with ancient farming methods runs Haye Farm
to grow in a way that respects and improves the environment, in East Devon
minimising waste and negative impact, for which with his family

contemporar y farming has long

ignored in favour of profit and yield.
It is hard, of course, to pretend this
conscientiousness would have gained
Petersham Nurseries such high esteem
were the end results on plates and in
dining rooms not so damn delicious.
Eternally gorgeous Italian ingredient-
led cooking, and, the final triumph,
outstanding seasonal menus that keep
a loyal (and growing) clientele returning
for more, year after year. Q
Visit Petershamnurseries.com
 VOGUE
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and will be renewed at the rate of 6 for £19.50.
 MR VOGUE

And for his

next turn
Callum Turner is Britain’s new
leading man, says Sirin Kale.
Photograph by Paul Wetherell.
Styling by Julia Brenard

C
allum Turner is a curious mix. Humble and
self-effacing, he’s also utterly assured. It’s a
contradiction that plays out in his face: those
far-apart eyes connoting childlike vulnerability,
that smirking comma of a mouth.
At 29, the British actor is putting that unusual
alchemy to good use. He’s played wizard Theseus
Scamander in Fantastic Beasts: The Crimes of Grindelwald,
Russian aristocrat Anatole Kuragin in War & Peace,
and is freshly triumphant from his lead as soldier Shaun
Emery in 2019’s BBC drama series The Capture.
“I wanna do it all,” Turner says, sitting in an empty
photographic studio after his Vogue shoot, a chill light
streaming in through the window. Every role he takes
on is director-based, which is how he found himself
in Autumn de Wilde’s much-hyped adaptation of Jane
Austen’s Emma. “Autumn’s trying to do something
completely different with the genre,” the actor explains.
“It’s a physical film.” In one scene, his character – the
dashing but flighty Frank Churchill – has to carry
Harriet Smith, played by Mia Goth. De Wilde wanted
audiences to see Frank’s exertion, so Turner decided
to bench-press Goth between takes. “Mia’s face,” he
laughs. “Her eyes were bulging!”
The antithesis of the Eton-educated Cambridge
Footlights crew, Callum – son of New Romantic club
promoter Rosemary Turner – grew up on a London
council estate, and, after being scouted at 17, did a
stint as a model. “I wasn’t that successful,” he says
LIKE RETOUCHING

modestly, despite appearing in two Burberry campaigns.

Turner appears unbothered by the accoutrements
of celebrity, too. After our interview, he’s due at his
RABBIT

aunt’s 50th, then out clubbing with friends from

school. He was previously dating The Crown actor
CREDIT HERE
GUTTER ARTWORK:

Vanessa Kirby, but won’t be drawn on his romantic

Wool poloneck, £165, life. “As long as I keep working with good people,
John Smedley, at Mrporter. that’s all that matters.” Callum Turner: the unstarriest
DIGITAL

com. Trousers, £1,900

as part of suit, Dior. rising star you’ll ever meet. n
Grooming: Matt Mulhall Emma is in cinemas from 14 February

219
GOLDEN
HOUR
Cast a warm light over
neutral shades to add depth
to the most simple of palettes.
Edited by Holly Tomalin.
Photographs by Mitch Payne

TIME TO SHINE
With its versatility, hint of vintage glamour and glimmering
metalwork, the De Ville Trésor from Omega will elevate your
look, no matter the occasion. Framed by a slim 36mm case,
and made from 18-carat Sedna gold, the face is elegantly
accented with pavé diamonds – making it as well suited to the
boardroom as the evening ahead.
Watch, £6,960, Omega
 Diamond watch,
price on request,
CHECKLIST
Richard Mille

Necklace, Earrings,
£5,180, £80,
Chopard Forte Forte

Gucci Beauty
Lipstick in
Rouge a Lévres
Gothique, £38,
at Harrods

Skirt,
£80,
Mango

Laura Mercier
Face Illuminator
in Sensation, £32,
at Space NK

Vogue, June 2016

Vogue,
December
2000

La D de Dior
Celeste watch,
SET DESIGN: MAYA ANGELI.
NICK KNIGHT; TIM WALKER

£4,400,
Dior

Shoes,
£175,
Reiss
CHECKLIST
Jumper, £750,
Holland &
Holland

Trench coat,
£649, Holland
Cooper

Bag, £1,450,
Loewe

La Mer
Moisturizing Cream, £230
Vogue, April 2013

Bag, £1,370,
Salvatore
Ferragamo

Skirt, £355,
Margaret
Howell

Leather boots,
£615,
Belt, £510, Versace Longchamp

Quilted jacket, £229,

Barbour by AlexaChung
 HERITAGE
REMIX
Timeless hero pieces now come
with a modern sensibility
MITCH PAYNE; SCOTT TRINDLE

BEST FOOT FORWARD

SET DESIGN: MAYA ANGELI.

This season, traditional pieces – think argyle knits,

quilted jackets and Prince of Wales checks – have been
upgraded for the new decade. Take these Burwood Met
Oxfords from British brand Church’s, which have been
reinvigorated with stud detailing. A time-honoured
investment, they’ll keep you in step with the trends
– without compromising on a classic.
Shoes, £590, Church’s
The SHAPE
of WATER Women have worn Nike’s athleisure to run outdoors,
hit the gym and compete in sport for decades,
but swimwear with a modest edge has never been
at the brand’s forefront – until now.

Photographs by Hedvig Jenning.

Styling by PC Williams. Set design by Julia Dias
 VOGUE PARTNERSHIP

Opposite: Victory
Swim Hijab, £32.
Victory Swim
Tunic Top, £65.
Victory Swim
Leggings, £55.
All Nike. This
page: Victory Full
Coverage Swimsuit,
£500, Nike.
Make-up: Bea
Sweet. Nails:
Lucie Pickavance.
Model: Amina
Adan. Aerial
dancer: Clare
Hawes
This page: Victory
Swim Hijab, £32.
Victory Swim
Tunic Top, £65.
Victory Swim
Leggings, £55.
All Nike. Opposite:
Victory Swim
Hijab, £32. Victory
Swim Tunic Top,
£65. Victory Swim
Leggings, £55.
All Nike

DISCRETE ZIPS, ADJUSTABLE BRAS, quick-dry

fabric, elongated sports tops, sophisticated colour palette;
when it comes to Nike’s Victory Swim Collection the
sportswear brand did its research, and then some. Nike
assembled an all-female team that travelled the world asking
women exactly what they want. Crafted in nylon, Nike
considered form and how the consumer engages with it.
The female-led team wanted each piece to feel streamlined,
and easy to wear and wash. The upshot is what you see over
these pages: an innovative collection comprising a full-
coverage swimsuit (top and trousers) and separates, including
a tunic, leggings and hijab.
Having launched its first Nike Pro hijab in 2017 to acclaim,
expanding further into modest sportswear was a no-brainer.
This collection appeals to all backgrounds and ethnicities,
and yes, it may be aimed at female swimmers, but via
innovative techniques and materials, women have found
comfort in the extensive line-up out of water, too. “The
emotional side of the design was just as important for us
as the innovation,” Martha Moore, Nike’s VP creative director,
tells Vogue. “We thought about how we wanted women
to feel while wearing it. You feel proud in it. You feel like
a pro-athlete.” Q
The Nike Victory Swim Collection reaches stores on 1 February 2020,
available to buy from Nike London, Selfridges and Nike.com.
Prices start from £32
VOGUE PARTNERSHIP
 VOGUE PARTNERSHIP

Opposite: Victory
Swim Hijab, £32.
Victory Swim
Tunic Top, £65.
Victory Swim
Leggings, £55.
All Nike.
This Page: Victory
Full Coverage
Swimsuit,
£500, Nike
 ®

“My day doesn’t

begin until I’ve taken
my Wellwoman.”
Tess Daly

From , , , Wellwoman
supports
supermarkets, health stores, pharmacies
& wellwoman.com
* UK’s No1 women’s supplement brand. Source: Nielsen GB ScanTrack
Total Coverage Value and Unit Retail Sales 52 w/e 7 September 2019.
To verify contact Vitabiotics Ltd, 1 Apsley Way, London NW2 7HF.
 BEAUTY
For a diffused look
redolent of hazy Edited by Kathleen
sunsets, lightly
apply Pat McGrath
Baird-Murray
Labs MatteTrance
Lipstick in Full
Panic, £35, on to the
apples of the cheeks
and blend towards
the hairline. Ruby
earrings, price on
request, Solange
Azagury-Partridge.
Hair: Sandy Hullett.
Make-up: Pat
McGrath. Styling:
Felicia Garcia-
Rivera. Model:
Xiao Wen Ju

PURPLE HAZE
As Pat McGrath captures this month’s beauty mood, Vogue
explores limitless inspiration, supernatural skin and rockstar
glam. Welcome to wonderful. Photograph by Ben Hassett
231
DIRECTOR’S CUT
Pat McGrath Labs
PermaGel Ultra Glide
Eye Pencil in Black
Coffee, £23

Anastasia Beverly Hills

Blush Trio in Pink
Passion, £30

Bobbi Brown Luxe

Jewel Lipstick in
Ruby Slipper, £28

Lancôme Hypnôse
Eyeshadow Palette in
Reflet d’Amethyste, £42

Estée Lauder Pure Color

Envy Sculpting Lipstick
in Demand, £36

Becca Champagne Pop

Collector Shimmering
Skin Perfector Pressed
Highlighter, £30

Lancôme L’Absolu Rouge

Ruby Cream lipstick in
Pigeon Blood Ruby, £27

Clarins Water Lip

Stain in Sparkling
Violet Water, £19

From left: Sisley

Les Phyto Ombres
Eyeshadow in Glow
Gold and Silky
Coral, £36 each

STARLIGHT EXPRESS
A ’70s glam-rock renaissance is under way, and this time around we have technology
PIXELATE.BIZ

on our side. Today’s finely milled textures with pigment-pay-off mesmerise and elevate
to next-level sophistication. Kathleen Baird-Murray shares her favourites
232
BEAUTY

STRAIGHT
TALK
Forever gazing down at
one device or another?
Then beware of
“military neck”,
says Lauren
Murdoch-Smith

n the beauty industry, tech neck (or text neck) is the spine,” explains Roger Frampton (Roger.coach), movement

I surface-level damage caused by continually looking at our

devices. Bending the neck at 45 degrees for long periods
can leave us susceptible to early wrinkles. But as device
use increases, a host of longer-term, more serious side effects
are becoming apparent. Experienced upper-back and shoulder
tension, headaches or fatigue lately? Welcome to military neck.
“No two soldiers are the same; our bodies compensate
differently,” says Amberin Fur, who practises alongside fellow
osteopath Laura Sierra at the London consultancy Amberin
Fur & Associates (Osteopathuk.com), and who sees a growing
number of patients with neck strain. “By looking down
continually, we’re going against the way our spine is designed
to weight-bear. Our spine shouldn’t be straight, which is what
‘military neck’ refers to – a soldier standing to attention. It
should be adaptable, resting within its natural curvature.”
coach and author of The Flexible Body. “Military neck is where
we start to lose the natural curvature of our neck.”
Sierra warns of the knock-on effects of bad posture: “Curves
in the spine absorb impact when we walk or carry weight,”
she says. “When the curves are lost, this has a direct impact
not only on our musculoskeletal structure but also on the
vascular, lymphatic and digestive systems. Simple adjustments
can allow you to use both your devices and your body in a
sustainable way. We need to pay attention to the way we hold
our devices, the time spent on them, and the size of the screen.
Daily stretching will open up the areas that we compress.”
Frampton – who often uploads stretching exercises on
Instagram (@rogerframpton) – recommends adopting one
good habit a day. If your job is desk-based, for example, he
suggests doing the broomstick stretch when you get home.
BERT STERN

The blame for long-term damage associated with tight, “Hold a broom handle against your spine with one hand
hunched shoulders lies firmly with our screen habits. “Along positioned at your lower back and the other at the top of your
with the rise of the smartphone came the fall of the cervical head,” says Frampton. Time to pay attention. Q

234
 THE SHOW Tom Ford.
THE LOOK Shimmering
smoky eyes with plenty
of black eyeliner were paired
with pale pink and neutral
lips for a look that was pure
elegance. Nails created
by Mei Kawajiri added an
element of street with their
“This season, manicure extreme length and stiletto
thinness, painted with Tom
lengths are extra-long. It’s chic, Ford Nail Lacquer in Mink
Brule, £32 (left).
MEI KAWAJIRI
NAIL ARTIST
modern and punk, all in one”
GIVENCHY

THE SHOW Givenchy.

THE LOOK Barely-there
make-up put the focus
on perfect skin. Achieve
translucency with Givenchy
Prisme Libre Loose Powder
in Mousseline Pastel, £41 (left).

BACKSTAGE DRAMA
You’ve seen the show, now get the look. Here’s our edit of
TOM FORD
the best designer make-up and its catwalk inspiration
DOLCE & GABBANA

JAMES COCHRANE; JASON LLOYD-EVANS; BENOIT PEVERELLI;

THE SHOW Dior.

THE LOOK The mood was
MITCHELL SAMS; KEVIN TACHMAN; PIXELATE.BIZ

natural, with an understated

complexion accented by
a slim black eyeliner and a
neutral lip. Peter Philips, the
creative and image director
of Dior make-up, left brows
unplucked and unpencilled
– but not unloved.
“Eyebrows are very THE SHOW Dolce & Gabbana.
important in creating a look THE LOOK Winged eyeliner plus red pout
as they frame the eyes,” equals classic Dolce & Gabbana. Pat its
he says. Try adding body The Only One Luminous Colour Lipstick
DIOR

to yours with Diorshow in Passionate Red, £30 (left), into lips with a
Brow Styler, £22 (above). fingertip for a similarly softly blurred finish.

236
 BEAUTY
“Highlight where the light is – but
LINDA CANTELLO
avoid creating white patches. Everything MAKE-UP ARTIST

needs to be blended and subtle”

BURBERRY THE SHOW Giorgio Armani.

THE LOOK Armani’s go-to
make-up maestra Linda Cantello
GIORGIO ARMANI
gave complexions an astral clarity by
THE SHOW Burberry. scattering translucent sequins around the
THE LOOK Pat McGrath followed chief eyes. Prep skin using her secret weapon,
creative Riccardo Tisci’s lead in opting for a Armani’s Designer Lift Foundation, £45
downplayed (and oh so British) sensuality. (above), mixed with its Prima Glow-on
Think the look of bare skin, achieved with Moisturising Cream, £65.
minimal amounts of Burberry Beauty’s
Matte Glow Liquid Foundation, £35 (left).

THE SHOW Chanel.

THE LOOK In a refined nod to the Nouvelle Vague,
Lucia Pica, Chanel’s global creative make-up and
colour designer, started with a natural base before, she
CHANEL

MARC JACOBS
explains, sweeping “the new bronzy Baume Essentiel
in Golden Light [£33, above] across the bridge of the
nose and the cheekbones. I added freckles, too!”

THE SHOW Gucci.

THE LOOK While false lashes (even
on eyebrows) added drama, skin
was glowing and paired with a glossy
natural lip. Gucci’s Baume à Lèvres
in Joslyn Clair, £34 (right), will keep
your lips hydrated and protected.
GUCCI

“Ultimately, you don’t

want people to say, ‘I love your
foundation!’ You want them
to say, ‘I love your skin!’”
TOM PECHEUX
GLOBAL BEAUTY DIRECTOR
FOR YSL BEAUTY THE SHOW
Marc Jacobs.
THE LOOK
Bleached
THE SHOW Saint Laurent. eyebrows allow
THE LOOK Matt-effect lips – the iridescent
achieved using YSL Slim Sheer beauty of a glitter
Matte Lipstick, £30 – in a neutral eyeshadow to be
pink, were offset by flawless the true star here.
SAINT LAURENT

skin, thanks to a light dusting of Try Marc Jacobs

powder. Tom Pecheux’s tip is to See-quins Glam
fill the brush almost to the brim Glitter Liquid
with powder to give a more Eyeshadow in
uniform finish. Try YSL All Hours Gleam, £24
Setting Powder, £39 (above). (above).
238
 BEAUTY

BREAK IT DOWN
When it comes to sustainability, the answer
may lie beneath the forest floor. Kathleen Baird-Murray
dissects the eco technology revolutionising
beauty packaging from the ground up.
Photograph by David Abrahams

f you go down to the woods today, you’re in for a big

I surprise. Sure, the canopy of leaves is pretty and all, but

take a closer look at what’s underfoot. Mycelium, a vast
network of fungal root structures, runs through the forest
floor, binding all the loose vegetation and fallen scraps of plants
together. And, when you combine this with agricultural waste
from farms, something akin to magic happens – you get
perfectly formed outer packaging for all the glass candles,
skincare bottles and jars that house your precious beauty
products. With the potential to replace polystyrene, card and
paper, which are sometimes treated with chemical finishes
and insoluble inks that make them less environmentally friendly,
mycelium is completely compostable, breaking down into
the soil while slowly releasing nutrients in a mere four weeks.
Although industry trailblazer Ecovative Design’s patented
mycelium technology has existed in America for more
than 10 years – Seed, the US purveyor of probiotic and
prebiotic supplements delivered to your door, for example,
already uses it – it’s new to Britain. Haeckels, the Margate-
based natural skincare brand, pioneered its use here. Now,
Symbiotec is opening an exclusively licensed production plant
in Esher, Surrey, and some familiar names, including Tom
Dixon and Wildsmith Skin, are jumping to use its packaging.
The manufacturing process is simple, relatively cheap and
kind to the earth, too. A mould is made, filled with mycelium,
flour and hemp byproduct (an estimated 500 different types
of farm waste can be used as long as they are plant-based and
not animal-derived) and then left for four to six days, during
which time the mix grows and binds together. It’s then placed
in a kiln to take out the moisture and sterilise the mix, resulting
in a bonded material that is home-compostable.
With local councils often struggling to support the
conditions needed to recycle some other types of
biodegradable packaging – plastic substitute PLA, for
example, requires extremely high temperatures and up to
WITH THANKS TO THE WILD ROOM

six months in an industrial facility to break down properly

– this spring might just be the time to start a compost heap.
Zero waste? We dig it. Q

From left: Haeckels Botany Bay Candle, £55; Kelp Bioferment, £22;
Borage Seed Oil, £7.50; Raspberry Seed Oil, £12. Wildsmith Skin
Copper Peptide Cream, £100. Seed Daily Synbiotic Travel Vial,
£38 a month, as part of subscription
BEAUTY

Hair transformers

S
ometimes, the more
haircare knowledge
you have, the fewer
products you need.
Living Proof ’s Triple Detox
Shampoo, £25, cleanses away
product build-up, tackles the
effects of pollution without
stripping colour, and comes
with a hard-water indicator
to assess your water supply
(and therefore how often you
need to detox). Meanwhile,
for all hair types – from fine
and straight to thick, tightly
coiled curls – Aveda’s new
Nutriplenish shampoo and
conditioner range, from
£25, contains a superfood
complex that hydrates
without silicones.

Spring’s latest hair, scent and skincare

BEAUTY MUSINGS launches. By Lauren Murdoch-Smith

LET’S GET DIGITAL

Duolab, the new beauty tech brand from
French house L’Occitane, promises to revolutionise
(and digitise) your routine. The Duolab system prescribes
skincare through a special app. Product “pods” – available
in three moisturising bases and five targeted concentrates
– are then sent to you each month, to match skin’s 28-day
renewal cycle. At home, the Duolab device warms the pods’
contents to skin temperature in 90 seconds (thermo-cosmetic Duolab
device, £250.
technology is proven to help products penetrate more Duolab pods,
effectively). Elemis pods designed to fit Duolab will soon be from £1 each
available, with other brands sure to follow – plus, every
used pod can be recycled free of charge.

LIGHT UP
Whether it’s Chanel’s
playful solid-fragrance
touch-up pens in all four
variations of Chance (the
original, plus Eau Fraîche,
Eau Tendre and Eau Vive), or
the Miss Dior update, Rose
N’Roses, this season, scents
MATT EASTON; PIXELATE.BIZ

are light, fruity and floral.

From far left: Chanel Crayons
de Parfums, £65 for a set of four.
Guerlain Mon Guerlain Bloom
of Rose eau de parfum, £78. Dolce
& Gabbana Dolce Shine eau de
parfum, £61. Dior Miss Dior Rose
N’Roses eau de parfum, £65. Miu
Miu Twist eau de parfum, £62

240
 META - SKINCARE SCIENCE
A beauty secret cocooned

The first-ever micro-fiber veil* to unlock the rejuvenating power of skin.

Much like Koishimaru Silk, the silky fiber of Fine Fiber Technology spins
into an ethereal veil to help seal in moisture and the potent technologies of
your skincare like a cocoon.
Wear overnight to tap into skin’s hidden beauty reservoir and wake up to
renewed beauty.
Experience SILK SKIN like never before.
BIOMIMESIS VEIL . Unveiling the next chapter of your beauty journey.

BIOMIMESIS VEIL DIFFUSER *In SENSAI skincare.

BIOMIMESIS VEIL EFFECTOR

BIOMIMESIS VEIL POTION

Exclusively at Harrods.
The Beauty Halls, Ground Floor. sensai-cosmetics.com
 Gigi Hadid
wears cashmere
bodice, £1,045.
Leather shorts,
£1,850. Both
Bottega Veneta.
Jewelled
sandals, £825,
Manolo Blahnik.
Socks, £12,
Falke
STYLING: JULIA SARR-JAMOIS. HAIR: TAMARA MCNAUGHTON.
MAKE-UP: FARA HOMIDI. SET DESIGN: SPENCER VROOMAN

ON YOUR MARKS
NO NEED TO HIT RESET THIS SEASON. FASHION’S WINNERS ARE PIECES WE ALREADY KNOW AND LOVE: SPORTSWEAR
(NOW A WARDROBE MAINSTAY); THE TRENCH COAT (ALBEIT TWEAKED EVERY WHICH WAY); AND DENIM (SUSTAINABLY
SOURCED OR IN SHAPES SET TO ENDURE). EVEN EVENINGWEAR IS REASSURINGLY RECOGNISABLE. POETIC BLOUSES
SEMAPHORE CHARM, WHILE CLASSIC POLKA DOTS AND FLORALS CONTINUE TO CAPTIVATE INTO SUMMER AND
BEYOND. THIS FEELING OF FAMILIARITY SPREAD THROUGHOUT THE COLLECTIONS, WHICH WERE INFUSED WITH A
GIVE-THEM-CLOTHES-THEY-WANT SENSIBILITY. THAT DOESN’T MEAN IT’S A SEASON WITHOUT WOW. THE ROLL
CALL OF GLORIOUS GOWNS HEADED FOR THE RED CARPETS WILL SEE TO THAT. PHOTOGRAPH BY ZOE GHERTNER

245
6
S
u
p
e
r
s
The latest generation
of supermodels can
channel easy elegance and
red-lipped glamour with
equal finesse. Here, six
faces of the new decade
show us how it’s done
in denim. Photographs
by Alasdair McLellan.
Styling by Kate Phelan
ADUT AKECH, 20
Adut Akech and her family
escaped from war-torn southern
Sudan to a Kenyan refugee
camp, before moving to Australia
when she was six years old.
Her mission since, to support
underprivileged girls across the
globe, married with her incredible
self-expression, deservedly won
her the accolade Model of the
Year at the 2019 Fashion Awards.
When do you feel super?
“I can feel super in a sexy,
bodycon suit, but also in a pair
of jeans and sneakers. It’s mainly
about wearing my confidence.
Also, nothing beats the feeling
I have when I’m on the runway.”
Opposite: denim dungarees,
from £360, Isabel Marant.
This page: leather jacket, £9,080.
Cotton T-shirt with strass detail,
£1,570. Jeans, £975. Felt hat,
£1,200. Corsage, on hat, £855.
Chain belt, £1,755. Bracelets,
£810 each. All Chanel

247
 FRAN SUMMERS, 20
Hailing from North Yorkshire,
Fran Summers has an infectious
enthusiasm and arresting
presence that have established
her as this country’s fashion
darling – a fact yet to dull her
self-described “goofy spirit”.
If you could choose one
superpower, what would it be?
“I think my ideal superpower
would be to shape-shift. I mean,
who wouldn’t want to be any
person on the face of the planet?
Some days I would wake up
and decide to be Audrey
Hepburn or Oscar Wilde, and no
one would know it was me.”
This page: trompe l’oeil
satin jacket, £1,450. Trompe
l’oeil satin jeans, £875. Leather
shoes, £675. All Balenciaga.
Cotton shirt, £99, Boss.
Opposite: velvet jacket, £2,020.
Crêpe shirt, £700. Denim
shorts, £435. Suede boots,
from a selection. Pendant
necklace, £260. All Saint
Laurent by Anthony
Vaccarello. Hoop earrings,
£194, Tom Wood. Gold and
lapis signet ring, from
£1,300, Rebus. Suede hat,
£250, Lock Hatters
249
 IMAAN HAMMAM, 23
Dutch model Imaan Hammam’s
ability to communicate
high glamour and easy chic
has established her as an
industry favourite, while her
determination to represent
girls of African-Arabic descent
in an oft-whitewashed industry
is making a profound impact.
What makes you feel super?
“The strength that I get from
my family and friends…
but I also love a runway.”
This page: archive T-shirt,
courtesy of Tommy Hilfiger.
Jeans, £80, Tommy Jeans.
Hi-tops, £55, Converse.
Earrings, Imaan’s own.
Opposite: crêpe shirt with
chain, from £830. Denim
shorts, from £410. Leather
boots, from £1,160. All
Givenchy. Vintage belt, from
a selection, Pop Boutique.
Earrings, as before

250
 UGBAD ABDI, 19
Born in Somalia, but raised
in a Kenyan refugee camp,
Ugbad Abdi has stormed global
catwalks wearing the hijab,
inspiring a roll call of creatives
to expand their design dictionaries,
while presenting an expansive
image of Muslim women.
Which aspect of modelling
makes you feel super?
“Walking down the runway
while wearing creations from
the geniuses of our time is
when I feel super. Especially
when I get to see my little
siblings loving it!”
This page: shirt, £715. Jeans,
£685. Both Bottega Veneta.
Leather loafers, £130, GH Bass.
Opposite: wool blazer body,
£1,550. Cotton dicky, £130.
Jeans, £450. Leather belt, £250.
All Michael Kors Collection.
Velour hat, from £460, Faeth
Millinery. Hoop earrings, £25,
Image Gang. Silk scarf, tied
around wrist, £165, Hermès
253
 HYUNJI SHIN, 23
Walking runways from
Chanel to Louis Vuitton and
Versace to Valentino,
Korean model Hyunji Shin’s
career has been a whirlwind
success – and her combination
of radiant beauty and laid-back
spirit will ensure longevity.
If you were a superhero,
what would your power be?
“It would be to teleport… to
avoid all the long-haul flights.”
This page: denim jacket, £500.
Jeans, £200. Both Emporio
Armani. T-shirt, £90, AG, at
Harrods. Vintage bandana and
belt, from a selection, Rokit.
Opposite: waistcoat,
£1,200. Cotton shirt, £1,350.
Brooch, £685. All Louis Vuitton.
Jeans, £85, Levi’s. Felt hat, from
£480, Faeth Millinery. Vintage
bracelet, £95, Linda Bee
255
256
VITTORIA CERETTI, 21
Undone or done up, Vittoria
Ceretti’s inimitable elegance has
established her as a new-age
super. In fact, at just 21 years
old, there’s hardly a runway,
or a cover, that the Italian
model hasn’t appeared on.
What makes you feel super?
“The perfect jeans make me feel
like a woman, but super-cool
and comfy at the same time.
Although, it’s still a nightmare
to find the perfect pair.”
Opposite: denim jacket,
£249. Denim shirt, £149. Jeans,
£135. All Polo Ralph Lauren.
Belt, £329, Jessie Western.
This page: tweed jacket,
£2,150. Crêpe blouse, £990.
Denim culottes, £490. Leather
belt, £300. Leather boots,
from a selection. All Celine
by Hedi Slimane. Quartz pendant
necklace, £372, Goossens.
For stockists, all pages,
see Vogue Information.
Hair: Anthony Turner.
Make-up: Lynsey Alexander.
Nails: Pebbles Aikens.
Production: Ragi Dholakia
Productions. Digital
artwork: Output
 WOOL JACKET, £2,300.
ORGANZA BLOUSE, £1,290.
BOTH VALENTINO. HAIR:
PAUL HANLON. MAKE-UP:
LUCIA PIERONI. NAILS:
CHISATO YAMAMOTO. SET
DESIGN: MIGUEL BENTO.
PRODUCTION: PALM
PRODUCTIONS. DIGITAL
ARTWORK: DREAMER
POSTPRODUCTION
 Born in the depths of a Soviet winter but now living the life of a
supermodel, Irina Shayk has a backstory that reads like a fairy tale.
In her most revealing interview ever, she talks Hollywood
break-ups, single motherhood and why the best is yet to come.
Interview and styling by Edward Enninful.
Photographs by Mert Alas & Marcus Piggott
t’s the morning of the 2019 Fashion Awards, and I’m
I on my way to meet an old friend at the Bulgari Hotel
in Knightsbridge. Outside, the December air is chilly.
Inside, the hallways are moodily lit. But when Irina
Shayk throws open the door to her suite, it’s as if
spring has suddenly sprung.
She greets me with a theatrical “Hi!” and I immediately
start to laugh – not only is the 34-year-old Russian dynamo
in the middle of FaceTiming Burberry’s chief creative officer
Riccardo Tisci, but her entire face is concealed behind a
shimmering gold sheet mask, giving her the appearance of
a very beautiful, very naughty Tutankhamun. (This is not
unusual; when you’re with Irina, the mood is always, to borrow
one of her favourite party descriptions, like a “kiki”.) Even
in her mask, her blue jeans tucked into black socks, a simple
grey tee and gold hoops, she looks incredible.
We first met a few years ago, when I styled her for W
Magazine with photographers Mert Alas and Marcus Piggott.
Thanks to her breakthrough with Sports Illustrated, she was
already a social media star. It was love at first sight. When she
arrived on set in Los Angeles, it was as if we’d known one
another all our lives. I adored her humour, warmth and beauty,
and most of all, her fierceness. (She was born in a harsh Soviet
winter, so this fierceness is hardly a surprise.) Fashion fell in
love with her, too, and before long she was walking for Givenchy
and Miu Miu, and being photographed by the greats.
Soon, the world was enthralled by Irina, not least the
Hollywood actor Bradley Cooper. The pair were together
for four years, and three years ago had a daughter – Lea De
Seine Shayk Cooper – who they now co-parent following
their break-up. Irina is an extraordinary mother.
Irina ends her video call with Riccardo, peels off her mask
and whisks me into her bedroom, where the signs of a
supermodel’s glamorous life are littered about, from forgotten
room service to scattered heels. She’s on the red carpet in a
few hours but hasn’t decided on a final look. “I have nothing
to wear tonight,” she worries – everything sent over so far
won’t fit her famous curves. “You know me,” she says, her
voice full of fun and wonderfully gravelly. “Momma loves to
eat.” We settle down to talk…
Edward Enninful: Let’s start from the beginning. You lost
your father when you were young, and financially it wasn’t
easy for your family. How did this shape who you’ve become?
Irina Shayk: I was born and raised in a town called
Yemanzhelinsk, in the middle of nowhere in Russia. My
father was a coal miner and my mom was a pianist – she
couldn’t find a job, so she played for kids in kindergarten.
It was a very simple life: one main street, no movie theatre,
no restaurants. I lost my father when I was 14. He was the
healthiest man alive, and at 44, out of the blue, he was
coughing for a while then got pneumonia and died. Me, my
mom and my sister were left. Three women.
How did you survive?
We learnt how to early in life, even when we had a father,
because in Russia you have to. In summer you grow
vegetables and bury them, so in wintertime you have
potatoes, carrots, everything, so you can survive. When I >
259
 hated being in pictures [laughs].
Look at me now!
It sounds like you were very different
from the woman we know today.
Well, first of all, I always felt like I
was born in the wrong body. I felt
I was supposed to be a boy.
That’s so interesting.
I don’t know why. Maybe it’s because
my father always wanted a boy.
How old were you when you had
this feeling?
Fourteen. When my father passed
away, I thought, “Since I’m a guy,
now it’s my time to take care of the
family.” I said to myself I would
never get married. Of course, later
on in life I outgrew that, and I love
being a woman. But I remember
that feeling.
What was the moment that really
changed your life?
Probably my changing point was
when I was six years old. My father
worked for 20 years and finally
bought a car – to have a car in the
village, it was really like you were
the king. He decided to sell it, and
was planning to put the money
towards a new house and college,
and maybe another car. But when I
was six we got robbed. I opened the
door and three guys wearing masks
came in, and they were pointing a
gun to my head [begins to tear up].
I’m sorry, I didn’t mean to cry.
Oh my god, Irina!
They were like, “Where is your
father? We know you have money
in the house.” My first reaction
was, don’t talk. I didn’t tell them
my father was taking a shower.
Then they broke the bathroom door
and there was a huge fight.
And you were just six years old?
Yes. One was pointing a gun to
my head, and the two others were
fighting with my father. We lived
moved to New York, I was shocked that people go to the on the first floor and my father jumped out of the window.
supermarket and buy potatoes. I was like, “That’s crazy.” He went to ask for help, and the guys got scared and ran
How did you cope with the loss? away. I was so scared.
It was huge, he was the love of our lives. My mom was It must have had a lasting effect on you.
married to my father for 14 years and dating for seven years That’s probably why I still don’t have a lot of friends. I knew
before they got married. She was terrified. But I think what that my father’s best friend betrayed him, because he was
is very special about the Russian woman, and women in the only one who knew that my father was going to sell the
general, is they always shape up in the right moment. car. To this day I don’t open so many doors to people in my
Were you popular at school? life. I don’t want to live without trusting people. I don’t talk
ABOVE: WOOL/SILK No! I had my first boyfriend at 18. Boys didn’t like me. about that story, because it puts me back to that time, back
COAT, £2,990, MIU MIU. Why? to losing my father. But I wanted to tell you that.
OPPOSITE: TRENCH I was really skinny and have darker skin, so boys and girls Thank you for trusting me. So modelling wasn’t something
COAT, £1,990. CORSET
TOP WITH LACE EDGING, made fun of me. I never knew that I would be a model. you ever chased?
£990. HAT, £350. ALL I had bigger lips, so they called me Chunga-Changa, after Never.
BURBERRY. KNICKERS,
FROM £10, INTIMISSIMI. this Russian cartoon about black kids. As a kid, when you stepped out of your house with your
LEATHER BOOTS, £1,424, Oh, wow. mother, were people like, “Your daughter is so beautiful”?
RICK OWENS. LEATHER
GLOVES, FROM £110, I always thought, “I want to be like everyone else,” so nobody No. I was always loved in my family, but I was never admired
MAISON FABRE would pick on me. I was really shy as a child. And I kind of outside my house, because I looked different. > 266

260
 I’M A TOUGH PERSON.
I HAVE A STRONG
PERSONALITY AND
I DEFINITELY KNOW
WHAT I WANT, AND
I THINK SOME MEN
ARE SCARED OF THAT
 SEXY IS NOT JUST
A PUSH-UP BRA, RED LIPS,
HIGH HEELS AND
BIG HAIR. IT’S AN
OVERSIZED MAN’S SUIT.
IT’S SWEATPANTS.
I’VE NEVER MET A
WOMAN WHO ISN’T SEXY

THIS PAGE: WOOL

JACKET WITH STRAP
DETAIL, £1,090. WOOL
TROUSERS, £690. BOTH
JW ANDERSON. LEATHER
BOOTS, £775, JUNYA
WATANABE. HAT, TO
ORDER, SELF-PORTRAIT.
PATENT-LEATHER
CHOKER, £285, GUCCI.
OPPOSITE: SILK DRESS,
£1,380. LEATHER SHOES,
£610. BOTH PRADA.
LINEN HAT, £4,220, YOHJI
YAMAMOTO. RING, £265,
DRIES VAN NOTEN
263
264
 OPPOSITE: LEATHER
BIKER JACKET, £3,350.
LEATHER BIKER
TROUSERS, £2,390.
LEATHER BOOTS,
£950. CRYSTAL
EARRINGS, £795.
ALL BALENCIAGA.
THIS PAGE: PLISSE
DRESS WITH LEATHER
COLLAR AND SLIP,
£4,150, GUCCI.
LEATHER GLOVES,
£191, INES
 world existing out there, but it was
my first stop from Russia.
What was your big break?
Going to my agency and saying,
“Send me somewhere else, because
I need to make money.” I went to
Spain and booked a catalogue for
Lacoste, went to the Caribbean to
shoot it, and I made, I don’t know,
¤4,000? My mom cried for days.
In America my first break was
Sports Illustrated.
As a Russian-raised former Sports
Illustrated model, how do you think
your feminism developed?
Through my relationships and life
experience I’ve learnt to stand my
ground. I came into this business
stamped as a commercial model,
and I embraced it – I always had big
boobs and shapes. When I was in
Paris, I wished maybe I was skinny,
because the clothes didn’t fit me and
I couldn’t make money. But women
are powerful, and we just have to
embrace who we are.
How did it feel to be such a young
woman in this industry?
I started modelling when I was 19,
20, so I’d had my childhood. I always
believed in me. At 14 I felt like I was
in the wrong body, then finally I
felt OK to be a woman. I didn’t feel
pressure to lose kilos and colour my
hair, and I always, still now, stick to
that. I think the industry’s changing
for the better. Back then it was so
different: it was a map; it was no
Instagram, no Facebook, the clients
couldn’t say, “She has that big
following, and she’s popular on
Facebook, let’s book her.” All you had
were your pictures and what you had
to say. And I could not say anything.
What do you think about the
current situation with LGBTQIA+
rights in Russia?
You know, I love my country. In
When we moved to a bigger city, my sister went to university Moscow there are the most fun underground gay clubs, where
and I went to college to study marketing. There was a beauty people from all the world come. I have a lot of friends who
school we went to in the afternoons, and there was a are fluid genders. But I think as much as we say that Russia
modelling school next door. Guia Jikidze, who became my is a democratic country, it’s still on the way there in that aspect.
manager and who unfortunately passed away, sent a scout How have your priorities changed since becoming a mother?
ABOVE: LACE DRESS
WITH DETACHABLE to this beauty school. He saw me, took pictures and sent Well, it’s hard to find a balance between being a single mom
COLLAR, £6,350. them to Guia, who said, “Oh, do you wanna be a model? and being a working woman and provider. Trust me, there
LEATHER BOOTS, £1,100.
BOTH LOEWE. Do you wanna go to Paris?” are days I wake up and I’m like, “Oh my god, I don’t know
OPPOSITE: What was it like arriving in Paris as a 19-year-old? what to do, I’m falling apart.” I always try not to stay away
DECONSTRUCTED It was nothing like arriving today. There was no car service, from my daughter for more than a week, but I also don’t
TRENCH COAT
DRESS WITH GREEN no greeters at the airport. want to be this woman who’s not truthful to herself, because
UNDERSKIRT, £2,150. I remember. I love my work and I was raised in a woman-run household. I
DECONSTRUCTED
TRENCH COAT DRESS, It was an apartment with eight models sharing two bathrooms. want my daughter to know that momma has a job in her
WORN UNDERNEATH, It was ¤50 a week, ¤25 you had to spend for a week’s Métro life because I want to raise a strong, powerful woman.
£1,075. T-SHIRT, £205.
LEATHER BOOTS, £775. ticket. I remember, Friday, Saturday and Sunday we had Presents and food do not come out of the blue.
ALL JUNYA WATANABE. nothing to eat. I didn’t speak any English, I just knew, “My Did your priorities change overnight?
FOR STOCKISTS, ALL
PAGES, SEE VOGUE name is Irina,” and, “How are you?” But, you know, it was No, I was working until I was seven and a half months
INFORMATION the most beautiful time I’ve ever had. I’d known about the pregnant. I remember giving birth, waking up, and > 332

266
 LIFE AFTER BRADLEY IS
DEFINITELY REFLECTIVE,
AND I THINK IN
ALL GOOD RELATIONSHIPS
YOU BRING YOUR BEST
AND YOUR WORST
Return of
the mac
REFINED AND REWORKED
FOR SPRING/SUMMER ’20,
THE TRENCH COAT IS BACK.
AND WITH A FLICKER OF
1970S STYLING – NAMELY
LADYLIKE BAGS AND
BOURGEOIS BOW-BLOUSES –
IT’S MORE COVETABLE THAN
EVER. PHOTOGRAPHS BY
STEF MITCHELL. STYLING
BY SARAH RICHARDSON
A TRENCH-STYLE A-LINE
SKIRT WILL ALWAYS SET
A 1970S TONE, EVEN MORE
SO WITH TORTOISESHELL
FRAMES AND TOBACCO
SUEDE BOOTS.
OPPOSITE: COTTON
SHIRT, £850, VALENTINO.
RIBBON, THROUGHOUT, £2
A METRE, VV ROULEAUX.
COTTON SKIRT, FROM
£275, ANNAKIKI. SUEDE
BOOTS, £985, GIUSEPPE
ZANOTTI. NECKLACE,
WORN ON BOOTS,
THROUGHOUT, £139,
MISHO. CORDUROY AND
LEATHER BAG, £8,900,
HERMES. GOLD BANGLES,
FROM £4,050 EACH.
STACKED GOLD RINGS,
FROM £1,060 EACH. ALL
CHOPARD. GLASSES,
MODEL’S OWN.
IT’S THE SUBTLE DETAILS
– THE BRACELET-LENGTH
SLEEVES AND GENTLY
FLARED HEMLINE – THAT
TAKE DIOR’S TRENCH
TO ALL-OUT DESIRABLE.
THIS PAGE: TRENCH COAT,
£5,000, DIOR. COTTON
SHIRT, £700, SAINT
LAURENT BY ANTHONY
VACCARELLO. COTTON
SKIRT, FROM £275,
ANNAKIKI. LEATHER
BOOTS, £1,275, MARC
JACOBS. LEATHER BAG,
£1,750, GUCCI. VINTAGE
BRACELET, FROM £60,
LINDA BEE. ROSE-GOLD
RING, £2,430, HERMES.
HAIR: NEIL MOODIE.
MAKE-UP: PETROS
PETROHILOS. NAILS:
MIKE POCOCK. SET
DESIGN: GILLIAN O’BRIEN.
PRODUCTION: BELLHOUSE
MARKES. DIGITAL
ARTWORK: PICTUREHOUSE
& THE SMALL DARKROOM.
MODEL: FRAN SUMMERS

269
 DOUBLE UP – NOTE
HOW HERMES’S RIDING
CAPE TURNS A TRAD
TRENCH STATELY.
OPPOSITE: COTTON CAPE,
£1,940, HERMES. TRENCH
COAT, £2,150, DOLCE
& GABBANA. SHIRT WITH
FRILL COLLAR, £650.
LEATHER BELT, FROM A
SELECTION. BOTH CELINE
BY HEDI SLIMANE.
GABERDINE TROUSERS,
£590, MICHAEL KORS
COLLECTION. LEATHER
BOOTS, £795, REJINA PYO.
A CLASSIC CAPE
SHRUGGED OVER A PAIR
OF TAILORED CREASE-
FRONT TROUSERS HAS
THE KIND OF STYLE
CURRENCY THAT
TRANSCENDS TRENDS.
THIS PAGE: CAPE, FROM
A SELECTION, ROKH.
COTTON/SILK SHIRT, £750,
JIL SANDER. COTTON
TROUSERS, £395, STELLA
MCCARTNEY. LEATHER
BELT, £960, CHANEL.
LOAFERS, £850,
LOUIS VUITTON

271
SHORTS SUITS WERE
THE BIG TAKEAWAY
FROM THE SPRING/
SUMMER ’20 SHOWS.
WEAR MAX MARA’S,
COMPLETE WITH
TRENCH JACKET, WITH
KNEE-HIGH BOOTS
UNTIL THINGS HEAT UP.
THIS PAGE: TRENCH COAT,
£1,240. COTTON SHORTS,
£285. BOTH MAX MARA.
SHIRT, AS BEFORE.
LEATHER BOOTS, FROM
A SELECTION, CELINE
BY HEDI SLIMANE.
LEATHER BAG, £890,
ALEXANDER MCQUEEN.
HOW TO ADD REAL POLISH
TO A TIMELESS TRENCH?
WITH A TRIO OF GLOSSY
BLACK ACCESSORIES
– IN THIS CASE BOOTS,
BAG AND A BOW.
OPPOSITE: TRENCH
COAT, £2,750. SHIRT
WITH FRILL COLLAR,
£650. CULOTTES, BELT
AND BOOTS, FROM A
SELECTION. LEATHER BAG,
£2,500. CHARM BRACELET,
£740. SIGNET RING, £325.
ALL CELINE BY HEDI
SLIMANE. GOLD
AND DIAMOND RING,
£785, CHOPARD
273
274
 ULTIMATE TRENCH-MAKER
BURBERRY PIONEERED
THE STYLE MORE THAN
A HUNDRED YEARS
AGO. A FLASH OF ITS
HOUSE CHECK, WHICH
DATES BACK TO 1924,
GIVES AS MUCH KUDOS
NOW AS IT DID THEN.
OPPOSITE: TRENCH COATS,
FROM £1,550 EACH,
BURBERRY. BLOUSE, £295,
KATE SPADE NEW YORK.
GABERDINE TROUSERS,
£465, JIL SANDER.
LEATHER BOOTS, £1,275,
MARC JACOBS.
LEATHER BAG, £2,278,
BIENEN-DAVIS, AT
MATCHESFASHION.COM.
GIVE WINDSWEPT HAIR
CONTROLLED BOUNCE
AND HEALTHY SHINE WITH
KERASTASE COUTURE
STYLING LAQUE COUTURE
HAIRSPRAY, £18.50.
THIS PAGE: TRENCH CAPE,
£1,395. TRENCH COAT,
WORN UNDERNEATH.
£1,560. BOTH JUNYA
WATANABE. LACE RIBBON,
WORN AS SCARF, FROM £2
A METRE, VV ROULEAUX.
BOOTS, AS BEFORE.
LEATHER BAG, £1,720,
PRADA. HOOP EARRINGS,
£100, MISHO.
FOR STOCKISTS, ALL
PAGES, SEE VOGUE
INFORMATION
 THE swing
of THINGS
How to sum up the new season mood?
As designers turn against hype and extravagance in favour
of more considered collections, the fashion landscape shifts to one of
enlightenment, says Harriet Quick. Illustration by Augustynka
icture yourself on a garden swing, spring breeze
P on your skin, wearing a flowing, balloon-sleeved
dress, soothed into submission by a Qigong
session, devices switched to airplane mode. Or
strolling along a street in high-rise carpenter
trousers and a shirt – nothing that shouts “new”.
These are just a couple of the vignettes conjured by fashion,
as creatives connect to our yearning for slowness and tranquillity
in a hyper-functioning world, and simultaneously, in the face
of the climate crisis, move their practices towards sustainability.
We are all taking stock of what drives fashion and desire
today. Call it the slo-mo movement, the anti-hype trend.
“The collection is about time, about slowing down and
having a moment to think and to be together as a studio –
calm in our own thoughts,” said Alexander McQueen’s Sarah
Burton, backstage after her s/s ’20 show. “It started with a
group life-drawing class held in-store by artist Julie Verhoeven,
with everyone’s sketches being brought together and
embroidered on the loom for a series of dresses. The exercise
emphasised the sense of working together – time spent
reconnecting with one another and the world.” The meditative
collection – presented on simple stripped floorboards and
under a fabric awning – opened with a puff-sleeved ivory
dress fashioned in hand-beetled linen, which was woven at
William Clark, the oldest linen mill in Ireland, and bleached
in the fields by sun and moonlight. The show closed with
the entire backstage and studio team filing on to the boards
as the London Contemporary Orchestra played out the last
bars of a score composed by Isobel Waller-Bridge.
Fashion is a master at creating hyperventilating moments
and multimillion-pound spectacles, but this season, leading
creatives forcefully pared back presentations, wiping clean
the excess and hype to usher in a more reflective, sedate pace
with clothes that felt rooted in reality. Cue the everyday
flaring jeans, blouses and blazers that strolled by at Celine,
worn by models with “So what?” expressions; or the blue
denim and Breton combinations that ambled along the Rue
Cambon rooftop set at Chanel under a fitting grey sky.
Normal? Grey? Celebrity-free front rows? The new face of
fashion is embracing the day-to-day intimate dialogue we
have with our clothes, not just the Insta-bait surface.
Natacha Ramsay-Levi at Chloé sent out a charcoal
pinstripe suit and voluminous scarf-neck equestrian blouse
as an opening anti-statement. The look, which would have
been considered banal only a few collections ago, now appears
relevant beyond the fanfare of the show season. “I thought
it was a good moment to be able to make silhouettes more
perennial and less disposable; less about what is the fashion
of the day and more about the signatures of Chloé. It’s my
way of saying, ‘Let’s calm down,’” says Ramsay-Levi. “A lot
of this collection was about repeating looks I have already
done. It was a statement – a sincere statement,” she continues.
“This time round, I didn’t try to add a lot of fashion novelty
where we didn’t need it. My point of view is becoming more
mature. So the very first look was a blouse and a pant because
those are perennial clothes, and the jacket this season is almost
exactly the same as one I have done before.”
Dior’s Maria Grazia Chiuri delivered her signature
ballerina skirts and Bar jackets in neutral shades, on figures
that meandered through the branches and foliage as if
lost in their own thoughts. No proclamation T-shirts or
overload of meaning. In New York, Marc Jacobs upturned
the concept of show by playing with our perception of time
and formula. He started with the finale, as the entire cast
casually weaved through a set of white vintage chairs –
truffled out by Stefan Beckman from flea markets – and
then peeled backwards to individual time-warp looks that
read like Jacobs’s greatest hits, 1970s daffodil-yellow three-
piece velvet suits and prairie dresses included.
Against a backdrop of climate change, material scarcity and
consumer fatigue, the very notion of disposable seasonal trends
– the currency that fashion has dealt in since the proliferation
of ready-to-wear in the 1960s – is increasingly irrelevant.
Where once a designer’s prowess was judged by an ability to
flip between extreme trends collection by collection, proposing
sharp shifts in silhouette, colour and mood (kooky modesty
gave way to extravagant camp, which in turn flipped towards
bourgeois classicism in the latest hyper-speed cycle), the new
watchwords of luxury are restraint, quintessential and core.
In this wake, the grand architects of 21st-century fashion
are calling for a breather, a different perspective. How does
fashion, the poster child of guilt-free consumption, built-in
obsolescence, move forward in 2020?
Miuccia Prada’s resolution was to simplify and present “less
useless stuff ”. That translated as some of the classics Prada is
known for (fine cashmere knits, semi-sheer slip-like midiskirts,
enveloping tailored coats) and even a poignant reprise of the
bowling bag, one of the original It-bags, which came to
symbolise retail hysteria in the new millennium. If you still
have one duster-wrapped in the back of a cupboard, then
lucky you; it should be treasured anew like an ancient relic
of fashion’s glorious hype era. Ditto the Fendi Baguette. >
277
 THE GRAND The “must-have” frenzied 2000s are already looking like a
fuzzy, unbelievable past. Sex, money and power were the
ARCHITECTS unholy values that drove fashion – constantly heralding what
OF 21ST- was new (thousands of brands entered the market, millions
CENTURY of products launched), bolder (£12,000 jeans covered in
FASHION ARE crystals), bigger (floor-length crocodile trench coats, 7in heels)
and more outrageous (one-wear statement gowns).
CALLING FOR It seemed you were either in fashion, lapping up the trends
A BREATHER, and sporting the new, or you were relegated to the boondocks.
A DIFFERENT Over the past decade, designers and brands scaled up
production, delivering a minimum of four collections a year,
PERSPECTIVE with monthly drops, see-now-buy-now initiatives and a tidal
wave of collaborations. As a result, billions of pounds’ worth
of clothes piled up in our wardrobes and in landfill, and
businesses groaned under the weight of unsold stock, yet
scaling back was perceived as a failure. And thanks to the
digital revolution and the birth of influencer culture, there
were ever more channels and people to declare “in” and “out”,
and wave the “been there, done that” flag of boredom. “Fashion
was treated like an addiction – the It-bag, the It-shoe – the
new new new,” says Roland Mouret, who has navigated seismic
changes in the business during his 30-year career.
Decelerating at all levels of the business – from producing
excess samples (often, a third of the samples produced in a
collection never see the light of day) to the pyrotechnics of
the show set – is rapidly becoming a virtue and a sign of an
enlightened way forward. The goalposts are moving because
our appreciation of fashion, and what we need and value in
our lives, is in transition.
This slowdown is already under way. Consider the turnover
rate in trends over the past few seasons. The flying suit, the
pleated midiskirt, the heritage-check blazer, trench coat and
tailored trouser suit are all considered evergreens, changing
in colour and proportion over the seasons. In a curious twist
of aesthetics, stylists are now taking inspiration from what
individuals might look like dressed in cult finds from Depop.
In the case of Louis Vuitton, Victoriana blouses and handbags
fashioned after VHS cassettes are appealing to a generation
of analogue-loving slo-mo fans.
“The industry is going through a period of major
disruption,” says Carla Buzasi, managing director of trend
forecasting agency WGSN. “Consumers are far more
conscious about their buying decisions than they ever have
been. Savvy brands have cottoned on to that, evolving their
pieces and collections, rather than ditching one aesthetic and
jumping to a brand-new one each season,” Buzasi says.
“A lot of this is due to environmental concerns, but I’d argue
it’s also an output of the multiple drops fashion lovers have
grown used to, and how fast fashion has learnt to tweak and
refine a look that’s selling well to keep customers coming
back into store,” she continues. “We are forecasting change
in everything from the production methods of fashion – less
water, organic dyes, responsible harvesting of raw materials
– right through to the actual items that we buy; products that
can be adapted and updated, and have a positive impact on the
environment, rather than bought afresh each season. The idea
of the investment piece carries a whole new meaning in the
light of living in a more responsibly sustainable way,” she adds.
Tightening collections and saying no to so-so items is one
bold step forward. In the past year, Mouret has reduced excess
(that means material, endless sampling, time and labour) by
an estimated 35 per cent. “I now do one big concept that is
split into different sections across the year through main and
pre-collections. As designers, we were always like rabbits in
the headlights, designing pieces to feed the demand for new,
then dropping them rather than reusing or redeveloping.
278
Now, I can go back to ideas and make them really relevant.
It’s a good ethic to slow down and to think again. I really
believe it is the values of a brand that attracts customers, not
just the clothes,” says Mouret, who delivered Berber-striped
kaftans and supple trouser suits in his languorous line-up. In
New York, Phillip Lim 3.1 has reduced sampling by 40 per
cent and upped inclusion of sustainable fabrics by the same
percentage, while eco-activist Vivienne Westwood is aiming
for a 50 per cent scale back in waste by autumn 2020. As
businesses scrutinise figures to calculate environmental
footprint, and the cost of unsold stock, fashion has had to
change pace. It’s a juggling act between the desire for novelty
and the longer-reaching demand for gratifying investments.
“We counterbalance newness and trends by the depth of
product that has long-term appeal. The focus is on buying
the perfect product in each category and looking out for
brands that have a conscious aspect, whether that’s using
vintage or deadstock fabrications, or working with artisans
to support their craft. I think that currently the global shift
is people questioning provenance and looking to brands that
approach ‘fashion’ in a slower way,” says Natalie Kingham,
buying director at Matchesfashion.com.
In this shift, iterations or variations count for more than
radical change. Thus, the balloon-sleeved white blouse usurps
the pussy bow, the waistcoat appears as a top-up on the tailored
look, and gently flaring denims sidle back into everyday wear.
“Things have been happening so fast with brands coming up
and down in the space of one season – how do you react to
that speed? There’s so much being pushed in people’s faces.
There will always be an urge for instant gratification but,
increasingly, I think people are taking a step back and talking
about investment, and talking about luxury, quality and that
coat, that jacket, that dress that will last,” says Ida Peterson,
buying director at Browns. The notion of “long-lasting” does
not have to mean beige, black or navy classics. “The
collaboration between Dries Van Noten and Christian Lacroix
– a godfather of yesteryear – created some of the most joyful
designs. Bold and flamboyant can also be timeless,” she adds.
The shift is also making way for a new admiration of
materials and techniques. Who knew what “beetling” was
before Burton introduced the ancient technique of beating
linen to create a soft sheen? Fabric mills and textile manufacturers
are pushing deeper into techniques to create a new kind of
wonder. “Looking ahead to 2021, extravagance is being
replaced by something more discreet, with the notion of things
done well, the appreciation of the weight and substance of
fabric on the body coming to the fore. The customer wants
to know about the yarn and the making, and in that way, the
relationship between consumer and industry has deepened,”
says Pascaline Wilhelm, fashion director of Première Vision,
the fabric fair where collection ideas are often first seeded.
The very subject of time and change is the driving concept
behind About Time: Fashion and Duration at the Metropolitan
Museum of Art’s Costume Institute in New York. The
exhibition, which celebrates the museum’s 150th year, examines
how trends in fashion can move in both linear and cyclical
patterns. Head curator Andrew Bolton and Wendy Yu, curator
JASON LLOYD-EVANS, MITCHELL SAMS
in charge, looked to the works of French philosopher Henri
Bergson and his notion of “elastic time”, as well as Virginia
Woolf ’s centuries-spanning novel Orlando. Via a striking
juxtaposition of pieces – an 1880s bustier dress and an
exaggerated curves design from the Comme des Garçons Body
Meets Dress collection (1997) – the show raises issues of
longevity and sustainability, offering plenty of moments
of contemplation, proving perhaps that fashion is not blindly
hurtling into the future. Q
PRADA JW ANDERSON DOLCE & GABBANA CELINE MIU MIU

HERMES CHANEL BRANDON MAXWELL

VALENTINO THE ROW DRIES VAN NOTEN DIOR

LOEWE GIVENCHY BURBERRY MICHAEL KORS COLLECTION PRADA

CHLOE GIORGIO ARMANI LOUIS VUITTON

LOUIS VUITTON GUCCI BOTTEGA VENETA ALEXANDER MCQUEEN

bare
necessities
THIS SEASON’S STRIPPED-BACK LOOK
IS A NO-FUSS AFFAIR THAT DICTATES
BOYISH TAILORING AND NOTHING
UNDERNEATH. GAME FOR IT?
PHOTOGRAPHS BY ZOE GHERTNER.
STYLING BY JULIA SARR-JAMOIS
 THE RIGHT PAIR OF JEANS
CAN CATAPULT YOU INTO
NOW, BUT THE BEST THING
ABOUT GIVENCHY’S 1990S
STYLE? THEY’RE UPCYCLED.
OPPOSITE: CROPPED JEANS,
FROM £590, GIVENCHY.
ATHLEISURE 2.0: LET
TOM FORD’S BASKETBALL
SHORTS INSTANTLY
UPDATE THE NEUTRAL
TAILORING TEMPLATE.
THIS PAGE: BELTED
WOOL/SILK JACKET, £2,370,
LANVIN. BRA TOP, £155,
LONGCHAMP. SILK-JERSEY
SHORTS, £1,470, TOM FORD.
SOCKS, £12, FALKE.
JEWELLED SATIN
SLINGBACKS, £725, TO
ORDER, GINA COUTURE
YOUR CRISP WORKADAY
SHIRT DESERVES A NIGHT
OUT: ENTER CRYSTAL-
SMOTHERED EARRINGS
AND DIOR’S TIE-DYE DENIM.
OPPOSITE: SILK SHIRT,
£1,450. TIE-DYE JEANS,
£940. BOTH DIOR.
CRYSTAL EARRINGS, £590,
ALESSANDRA RICH. SATIN
AND CRYSTAL SANDALS,
£1,080, RENE CAOVILLA.
KEEN TO EXTEND THE
LIFE OF YOUR SIGNATURE
BLACK SUIT? THROWBACK
THONG SANDALS AND A
BROOCH ARE UNEXPECTEDLY
RITZY ADDITIONS TO
BALENCIAGA’S TWO-PIECE.
THIS PAGE: TWILL JACKET,
FROM £1,600. TWILL
TROUSERS, FROM £680.
BOTH BALENCIAGA.
CRYSTAL BROOCH, £38,
BUTLER & WILSON. SATIN
AND CRYSTAL SANDALS,
£790, RENE CAOVILLA

283
 WHO KNEW A GROWN-UP
HERMES ENSEMBLE COULD
LOOK SO PLAYFUL?
JUST ADD A FLASH OF
PILLAR-BOX RED.
THIS PAGE: WOOL JACKET,
£2,600. WOOL TROUSERS,
£2,500. LEATHER TRAINERS,
£720. ALL HERMES.
WHEN IT COMES TO
FULL-ON SENSUALITY,
THERE’S NO POINT
BEING SHY ABOUT IT. BE
BRAZEN, BE BRIGHT, WITH
MAYBELLINE’S STRIKING
COLOR SENSATIONAL
LOADED BOLDS LIPSTICK
IN ORANGE DANGER, £7.
OPPOSITE: COTTON
SHIRT, £345. DENIM JEANS,
£345. BOTH ETRO
285
 WHITE SOCKS AND
SPORTING SHORTS
TAKE A FERRAGAMO
TUXEDO DOWNTOWN.
GABERDINE JACKET WITH
LEATHER COLLAR, £2,125,
SALVATORE FERRAGAMO.
COTTON T-SHIRT, £85,
SUNSPEL. JERSEY SHORTS,
£35, REEBOK. CRYSTAL
EMBELLISHED SHOES,
£650, STUART WEITZMAN.
SOCKS, £3, UNIQLO

286
ALBERTA FERRETTI’S
EMBROIDERED TROUSERS
CAN BE A LOT TO HANDLE
– A SIMPLE TANK BRINGS
THEM BACK TO REALITY.
OPPOSITE: SILK VEST,
FROM £300, GAUCHERE.
EMBELLISHED TULLE
TROUSERS, £2,450,
ALBERTA FERRETTI.
RALPH LAUREN IS
SYNONYMOUS WITH THE
LAUNDRY-FRESH WHITE
SHIRT – AND WITH KHAITE’S
BEWITCHING HEADPIECE,
IT’S RIPE FOR A REVIVAL.
THIS PAGE: COTTON SHIRT,
£115, POLO RALPH LAUREN.
CRYSTAL HEADPIECE,
TO ORDER, KHAITE

289
ISABEL MARANT’S LOVE AFFAIR
WITH OUT-OUT MINISKIRTS
SHOWS NO SIGN OF WANING:
HER SPANGLES WILL LOOK
JUST AS ROMANTIC THE
MORNING AFTER.
OPPOSITE: COTTON SHIRT,
£185, BUDD. FRINGED
MINISKIRT, £2,845, ISABEL
MARANT. TRAINERS,
£375, SAINT LAURENT BY
ANTHONY VACCARELLO.
RAID THE MENSWEAR
DEPARTMENT: THERE IS
NOTHING EASIER TO THROW
ON NOW THAN GIORGIO
ARMANI’S MANNISH SUIT.
THIS PAGE: MEN’S WOOL SUIT,
£1,700, GIORGIO ARMANI.
FOR STOCKISTS, ALL PAGES,
SEE VOGUE INFORMATION.
HAIR: TAMARA MCNAUGHTON.
MAKE-UP: FARA HOMIDI.
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ARTWORK: STUDIO RM.
MODEL: GIGI HADID.
WITH THANKS TO THE WEST
HOLLYWOOD EDITION HOTEL

291
JACKET, £1,350.
BLOUSE, £690.
TROUSERS, £750.
ALL VICTORIA
BECKHAM. BELT,
£465, HERMES.
SHOES, £545,
GIANVITO ROSSI.
NECKLACE, £75,
MONICA VINADER.
EARRINGS,
THROUGHOUT,
NAGA’S OWN.
HAIR: ROKU
ROPPONGI.
MAKE-UP: NINNI
NUMMELA.
DIGITAL
ARTWORK:
GRAIN
The good fight
When queen of breakfast TV Naga Munchetty spoke out against Donald Trump’s racist
remarks, she didn’t expect to become the centre of a BBC crisis. Here, she tells Giles
Hattersley what happened next. Photographs by Ben Weller. Styling by Donna Wallace
e’re trained as journalists, yes?” says Naga
W Munchetty. “So you don’t get why anyone
would be interested in you.” It is midday in
Manchester, and having finished her hosting
duties on BBC Breakfast (today’s agenda: overdraft scams,
French strikers, and “How environmentally friendly is
your Christmas tree?”), one of Britain’s most prominent
broadcasters is pouring us two glasses of fizz. “Our whole
joy is to find out the story, not to be the story,” she continues.
“I hate being the one questioned. I don’t think I’ve got
anything particularly interesting to say.”
Cue hollow laughter all round. Munchetty, 44, is famous
for her warmly acerbic morning manner, to say nothing of
her laser-like skills in roasting prime ministers. “The most
difficult psychological question ever,” spluttered Boris
Johnson on the campaign trail, as he struggled to answer
her deliciously open-ended puzzler: “How are you relatable?”
Yet, with more than a dozen years of experience in front
of the camera, Munchetty found herself headline news last
summer when one of her trademark off-the-cuff chats on
the BBC’s flagship morning show moved way beyond breezy.
“Breakfast is very chatty,” she says, matter-of-factly. “We
muse about things that have happened, conversations we’ve
just had.” A reasonable point. But the famous red sofa had
never seen anything quite like this.
This is the first time she has spoken about the July event,
and the difficult weeks that followed, though to many
the situation seemed pretty straightforward. In response
to an item about Donald Trump tweeting at four US
congresswomen of colour to “go back” to where they came
from, Munchetty delivered a riveting display of controlled
rage while the nation was still having its porridge. She called
it what it was – “racism” – adding that she was “absolutely
furious, and I can imagine lots of people in this country
will be feeling absolutely furious a man in that position
thinks it’s OK to skirt the lines by using language like that”.
Then things got muddy. A minority of viewers thought
Naga had crossed the impartiality line. The BBC duly
flip-flopped through its inquiry, before director-general
Tony Hall stepped in to overturn the ruling that she had
gone too far. One thing was clear, at least – this was
Munchetty’s Network moment.
For days you were the most scrutinised person in Britain,
I marvel. “Madness, isn’t it?” she replies. “Utter madness.”
We’ve not long been together, but it is apparent Munchetty’s
top note is one of brusque efficiency. She has already rejected
most of the tables in the restaurant at The Lowry Hotel,
her 5ft 3in frame speed walking ahead of me in Jimmy
Choo boots, shouting back her small talk – “I have very
long legs for such a short torso!” – and generally giving off
the air of a person attuned to life’s ticking clock. Yet, for a
moment, her characteristic briskness falters. How did it
make you feel to be in the eye of the storm? “It was horrible,”
she says, carefully. “And horrible for the team.”
Let’s start at the beginning, which in Munchetty’s case
means 3.45am. This is when, on show days, the first of her
alarms goes off – “One of those light ones” – followed by
“five alarms on my phone at 4, 4.05, 4.10, 4.15, 4.20, 4.22,”
she reels off, then corrects herself. “Six alarms!” Luckily, she
has that spooky Thatcher-like ability to thrive on four hours
a night. “I’m not usually in bed before 11.30pm,” she says,
fully off-duty in jeans and a leopard-print poloneck. When
she drawls, “I have a very fulfilling social life,” you believe it.
As soon as she’s awake, she begins speed-reading a 50-page
briefing document on the morning’s line-up – news, how to
package it, all the statistics and talking points for interviewees
– which fills the two-and-a-half-hour show. Forget Vaseline
smiles and colour-blocked outfits. Being knowledgeable on
any subject, from Brexit to Bake Off, then presenting it live
in an accessible and friendly fashion, requires nerves of steel.
Munchetty doesn’t seem the least bit fazed by it. “I’ve got
one of those brains that take in loads of information. It’s not
photographic, but it’s a very, very good memory,” she says.
(After the show, she promptly forgets it all. “Where are >
293
 we now? Twelve-ish? Could not remember the first headline If you were to say to me, ‘What do you absolutely know you
from this morning,” she says, laughing.) are good at?’ It’s working hard. And doing my best.”
At 4.40am, a car picks her up from her Manchester crash Naturally, she spotted Breakfast’s looming Trump item
pad (her main home, where she resides four nights a week straight away in her briefing notes. Was it an instant red flag?
with her husband – James Haggar, a TV director – and three “Absolutely not. I have a personal opinion on every single story
cats, is in north London), and she’s at the BBC’s Salford we do – I’m a curious human being. But my job is to get this
studios by 5am. “We tackle the headlines, look at the script, person’s story, and make it relatable.” The person in question
rewrite, put our ideas in…” What’s the additional time-tax was Jan Halper-Hayes, a former Trump campaign staffer,
for women re glam and wardrobe? “Well, this hair is done,” brought in to give her take on the president’s latest incendiary
she says, pointing to her zero-maintenance crop. She says tweet. Dan Walker did the interviewing honours, during
she spends 15 minutes in make-up (the men spend five). In which the guest insisted Donald Trump uses inflammatory
fact, she still has this morning’s face on, giving her a hyperreal language in order to start important conversations.
glow. It’s a wonder they can get that much make-up on a person If you haven’t seen the clip of what happened next, do
in a quarter of an hour, I tease, and she bashes my knee. look it up. Walker asks Naga for her take, and her entire
She finds the make-up chair soothing, a last chance to gather body tenses with control. “I think I became more controlled
her thoughts. “The point is we are there to ask the questions because I was very aware of not slandering anyone,” she
that our viewers want asked. says. What was going through
Especially on something like your mind? “Let me tell you
Brexit. We’re not Newsnight. this. I’ve tried to explain to
We’re not Question Time. We friends why racism hurts more
are for people digesting the than sexism, than classism, for
news as they’re cracking on me personally – I can’t speak
with their day.” And so, at for anyone else.”
6am, the red light flashes She takes a rare pause, then
and Munchetty and one of speaks softly and deliberately.
her presenting partners – Dan “My mum has been told, ‘You
Walker, Charlie Stayt, Louise Paki bitch, get your hands off
Minchin – go live, all before me,’ when she’s cleaning
the majority of the population someone. My dad has been
has stirred from its slumber. told the same thing. When
It sounds exhausting. She they’re cleaning someone’s
snorts. “Not once have I woken arse. A racist person’s arse. My
up going, ‘Ugh, I just can’t do parents have always been
it today.’ I am so grateful that absolutely professional and
I do a job that I absolutely caring as nurses. They came
adore. I’m bouncing every day.” to a country that wasn’t always
At this, she jiggles up and welcoming to people of colour,
down in her seat. “Literally to be the best they could be.
bouncing.” With her wry And they were told to go
broadcaster’s tone, her gaze home all the time.”
lightly amused and cool with And you were, too?
confidence, there is something She nods. “I grew up in
superhuman about her. Nerves Camberwell, then Peckham,
simply don’t appear to factor. then Streatham. Went to
They do, she counters, but school in Tooting. I lived in
she learnt to suppress them south London until eight
early on. “My parents are years ago. And I have been told
immigrants who came over many times, ‘Why don’t you
here in 1971,” she says, of her father and mother, Mauritian just f**k off to where you came from?’ The words I used on
and Indian born, respectively. They met in Wales, fell in love Breakfast were ‘to go back home’,” she adds, dryly. “So trust
THIS PAGE: and moved to London to start a family, while working as me, when things touch you, sometimes you physically can’t
JACKET, £440, nurses at various hospitals. “They worked for the NHS. let that go. If you’re saying you saw me sit back – frustrated,
VICTORIA
VICTORIA
Worked and worked and worked.” angry – it’s inevitable when you’ve had these experiences.”
BECKHAM. SHIRT, Munchetty was in many ways the quintessential child of “Was it unprofessional?” she wonders. “I don’t think so.
£350, NANUSHKA. this set-up, she says. Loving, strict parents full of ambition One of the balancing acts of being a Breakfast presenter is
TROUSERS, £320,
LACOSTE. BELT, for her resulted in top grades and a host of skills, including being comfortable enough to show who you are and your
£350, LOEWE. the ability to play the jazz trumpet. When, with zero personality. You have to show empathy. You cannot sit there
NECKLACE, £2,030, contacts, she flouted parental expectations to forge a media and be a robot on that sofa. It was in relation to what the
CARTIER.
OPPOSITE: BELTED career, making the leap from working-class Streatham to campaign person had said. And I do stand by it. It is not
DRESS, £1,588, the University of Leeds to, eventually, a junior role on The OK to use offensive language, or to skirt around offensive
LONGCHAMP.
NECKLACE,
Observer’s business desk in the late ’90s, almost all the other language, to make a point or to get attention. That’s a fact.
AS BEFORE. journalists were white and middle class. It was a culture It’s like if you saw someone being beaten up on the street
FOR STOCKISTS, shock. “It made me not only feel inferior and ignorant, but and you didn’t go over.”
ALL PAGES,
SEE VOGUE so out of my depth. The only thing I knew I could rely on Breakfast, aware it was TV gold, posted the clip of Munchetty’s
INFORMATION was my work ethic, which I’ve inherited from my parents. reaction on Twitter, where it met its fate to go viral. > 332

294
“IT IS NOT
OK TO USE
OFFENSIVE
LANGUAGE,
OR TO SKIRT
AROUND
OFFENSIVE
LANGUAGE,
TO MAKE A
POINT OR GET
ATTENTION.
THAT’S A FACT”
 Castle on
a cloud
CHARGED WITH CINEMATIC ALLURE, FASHION’S MUSE
FOR SPRING IS PART PRINCESS, PART PROVOCATEUR.
WAKE UP TO DREAM SEASON. PHOTOGRAPHS BY
CRAIG MCDEAN. STYLING BY BENJAMIN BRUNO

296
THE SHORTS SUIT IS
A NEW TALKING POINT,
AND MAX MARA’S HAS
DANDIFIED SWAGGER.
OPPOSITE: COTTON
TRENCH COAT, £1,240.
COTTON WAISTCOAT,
£395. COTTON SHORTS,
£315. ALL MAX MARA.
CASHMERE POLONECK,
£295, JOHNSTONS OF
ELGIN. TIGHTS, £10,
JONATHAN ASTON,
AT UKTIGHTS.COM.
VINTAGE HAT, COSTUME
STUDIO. VINTAGE SCARF,
ACADEMY COSTUMES.
VUITTON’S MONOCHROME
MINIDRESS IS NOTHING
SHORT OF ENCHANTING,
ESPECIALLY WHEN DRAPED
WITH A SUPERLATIVE
STRING OF PEARLS.
THIS PAGE: SILK MINIDRESS,
£3,300, LOUIS VUITTON.
SEQUINED GROSGRAIN
SHOES, £1,070, CHANEL.
DIAMOND EARRINGS, £14,000,
VAN CLEEF & ARPELS.
VINTAGE NECKLACE,
COSTUME STUDIO
 FULL-ON VOLUME, LOW
ON FRIZZ. A HEALTHY
MANE STARTS WITH
PANTENE PRO-V MIRACLES
ROOTS AWAKENER, £10.
THIS PAGE: SEQUINED
DRESS, £2,390, FENDI.
CAROLINA HERRERA’S
POLKA-DOT DELIGHT IS
GUARANTEED TO PUT A
SPRING IN YOUR STEP.
OPPOSITE: OFF-THE-
SHOULDER CAPE DRESS,
£3,495, CAROLINA
HERRERA, AT HARRODS.
SUEDE AND GROSGRAIN
SHOES, £810, CHANEL.
WHITE-GOLD AND DIAMOND
EARRINGS, £10,300, DIOR
JOAILLERIE. VINTAGE
NECKLACE, AS BEFORE
299
 NOTE TO SELF: LOEWE’S
WISTFUL FLORALS ARE
MADE FOR SPRING
WEDDINGS. JUST ADD A
WRIST FULL OF DIAMONDS.
OPPOSITE: COTTON AND
SILK DRESSES, £3,800 EACH,
LOEWE. WHITE-GOLD,
PLATINUM AND DIAMOND
BRACELET. WHITE-GOLD
AND DIAMOND RING,
£27,000. BOTH VAN
CLEEF & ARPELS.
GUCCI HAS A MONOPOLY
ON CAPTIVATING
EVENINGWEAR, AND
THE MESSAGE IS
CRYSTAL CLEAR: BE
MORE TRANSPARENT.
THIS PAGE: TULLE AND
VISCOSE DRESS, £2,380,
GUCCI. PASTIES, £125,
AGENT PROVOCATEUR.
JEWELLED SATIN SANDALS,
£1,115, CHANEL. FEATHER,
PEARL AND SWAROVSKI-
CRYSTAL NECKLACE, £187,
WALD BERLIN. WHITE-
GOLD, PLATINUM AND
DIAMOND BRACELET,
ON MODEL’S RIGHT ARM,
VAN CLEEF & ARPELS.
WHITE-GOLD AND DIAMOND
BRACELET, ON MODEL’S
LEFT ARM, CHAUMET
 COMEBACK QUEEN:
THE PRETTY PEASANT
BLOUSE IS BACK ON THE
MAP THANKS TO CELINE.
THIS PAGE: LINEN BLOUSE,
£1,200. FLARED JEANS,
£550. BOTH CELINE BY
HEDI SLIMANE. HEADBAND,
FROM £65, LELE SADOUGHI

302
 SAINT LAURENT’S BOYISH
TAILORING BOASTS
RETRO CHARM; GLOSSY
BALLERINA PUMPS ARE
AN IMPISH ADDITION.
THIS PAGE: SEQUINED
JACKET, £14,960. COTTON
BLOUSE, £610. WOOL
SHORTS, £785. CORSAGE,
£790. ALL SAINT LAURENT
BY ANTHONY VACCARELLO.
TIGHTS, £6, PAMELA MANN.
PATENT-LEATHER SHOES,
£260, REPETTO. VINTAGE
CAP, ACADEMY COSTUMES.
LEATHER GLOVES, FROM
£270, PAULA ROWAN.
BELLE OF THE BALLGOWN:
BONDED BLACK VELVET
MAKES BALENCIAGA’S
BOUNCING BELL-SHAPED
NUMBER A SOMEWHAT
GOTHIC AFFAIR.
OPPOSITE: VELVET DRESS,
£9,150, BALENCIAGA.
HEADSCARF, MODEL’S OWN

304
306
LETTING YOUR HAIR
DOWN? PLAY THE MODERN
RAPUNZEL IN RAVISHING
OSCAR DE LA RENTA,
ICED WITH CRYSTALS
AND GROUNDED
WITH BIKER BOOTS.
OPPOSITE: SILK-TAFFETA
GOWN, £11,360, OSCAR DE
LA RENTA. CRYSTAL BELT,
FROM A SELECTION,
JW ANDERSON. TIGHTS,
£17.50, EMILIO CAVALLINI.
EMBELLISHED LEATHER
BOOTS, £1,350, ROGER
VIVIER. VINTAGE CHOKER,
COSTUME STUDIO.
I SHOULD COCO: BEHOLD
CHANEL’S GLORIOUS
TAKE ON LOOK-ALIVE
TWEED, INFUSED WITH
ITS FOUNDER’S
ETERNAL GLAMOUR.
THIS PAGE: TWEED JACKET,
£7,335. TWEED SHORTS,
£3,910. JEWELLED LEATHER
SANDALS, £1,665. ALL
CHANEL. TIGHTS, £17.50,
EMILIO CAVALLINI.
DIAMOND EARRINGS,
£14,000, VAN CLEEF &
ARPELS. VINTAGE PEARL
NECKLACE, PEARL
BRACELET AND CORSAGE,
COSTUME STUDIO.
WHITE-GOLD AND DIAMOND
NECKLACE, £4,400.
DIAMOND-SET WATCH. BOTH
CHANEL FINE JEWELLERY.
LEATHER GLOVES, FROM
£410, PAULA ROWAN.
FEATHER BAG, BEHIND
SANDALS, £223, ROSANTICA,
AT FARFETCH.COM

307
WHEN IT COMES TO CROCHET,
TAKE A CALCULATED RISK:
LOEWE’S METALLIC-TRIM BEAUTY
IS A LADYLIKE MATCH FOR MIU
MIU’S HEAVYWEIGHT COAT.
THIS PAGE: CROCHET CAPE,
£895, LOEWE. SLEEVELESS
WOOL COAT, £1,725, MIU MIU.
VELVET HEADBAND, FROM
£57, LELE SADOUGHI.
“POETIC” WAS THE BUZZWORD
AT YOHJI YAMAMOTO. TAKE
HIS AUSTERE INKY SEPARATES
FOR A SPIN – YOU’LL FIND THEY
MAKE YOU WANT TO DANCE.
OPPOSITE: LINEN JACKET, £2,980.
LINEN SKIRT, £2,670. BOTH YOHJI
YAMAMOTO. TIGHTS, £27,
WOLFORD, AT SELFRIDGES. VINYL
SHOES, £545, GIANVITO ROSSI.
VINTAGE HAT AND UMBRELLA,
CARLO MANZI. WHITE-GOLD AND
DIAMOND EARRINGS, £10,300, DIOR
JOAILLERIE. LEATHER GLOVES,
FROM £550, PAULA ROWAN.
PRICES ON REQUEST
UNLESS OTHERWISE STATED.
FOR STOCKISTS, ALL PAGES,
SEE VOGUE INFORMATION.
HAIR: SAM MCKNIGHT.
MAKE-UP: PETER PHILIPS.
NAILS: CHISATO YAMAMOTO.
SET DESIGN: ANDY HILLMAN.
PRODUCTION: NORTH SIX
EUROPE. DIGITAL ARTWORK:
DTOUCH. MODELS: FREJA
BEHA ERICHSEN, FRAN
SUMMERS, OLIVIA VINTEN
309
 In-between
DAYS
Between excess and rigour, between male and female, Stefano Pilati
has built a brand without a blueprint. Anders Christian Madsen meets
him, while his friends Kate Moss and MJ Harper model his designs.
Photographs by Nikolai von Bismarck. Styling by Kate Phelan

here’s an exquisitely embellished T-shirt hem sticking out from

T underneath Stefano Pilati’s beige cashmere rollneck. He has

paired it with beige shorts worn over white long johns cut at
the knee, and black wellies. “I don’t love one or the other,” he
says, talking about women’s and menswear. “I love the ‘between’
space now. It’s intriguing, it’s challenging, it’s unknown.”
His outfit incarnates the spirit of Random Identities, the clothing line that
the cult-inspiring 54-year-old designer launched independently in 2017. Named
for its disregard of gender-conforming dress codes, it embodies the identity
politics of our time. In January, 14 months after his first presentation in Montreal,
Pilati staged a show during Pitti Immagine in Florence. Hallowed menswear
ground since the 1970s, the fashion fair was the ideal stage for the designer to
communicate his disruptive message, with all the gender-fluid casting and
non-binary styling it called for. “I promote my brand as a menswear brand, but
what does that mean, really?” Pilati reflects.
“I design stuff that I wear, that comes from my past, so I cannot call it
womenswear. Un-definition, I think, is the beauty of today: undefined beauty.”
His home in Berlin contains the physical evidence of the past he is referring >

310
OPPOSITE: STEFANO PILATI
OFTEN REMIXES WOMEN’S
AND MENSWEAR, “I DON’T
LOVE ONE OR THE OTHER.
I LOVE THE ‘BETWEEN’
SPACE NOW,” HE SAYS.
THIS PAGE: HALTERNECK
GOWN, £125, STEFANO
PILATI FOR RANDOM
IDENTITIES, AT SSENSE.
COM. BOOTS, KATE’S OWN
THIS PAGE: JACKET
AND TROUSERS, BOTH
FROM A SELECTION.
SHIRT, £135. BOOTS, £345.
OPPOSITE: STEFANO
WITH MJ, WHO WEARS
BOXING TROUSERS, £175.
JACKET AND BOOTS,
BOTH FROM A SELECTION.
ALL STEFANO PILATI FOR
RANDOM IDENTITIES,
AT DOVER STREET MARKET
AND SSENSE.COM.
FOR STOCKISTS, ALL PAGES,
SEE VOGUE INFORMATION.
HAIR: MALCOLM EDWARDS.
MAKE-UP: LYNSEY
ALEXANDER. NAILS:
LORRAINE GRIFFIN.
SET DESIGN: AIMEE BRIGG,
GEORGE LEWIN
to: a notoriously extensive archive he calls
his wardrobe, large parts of which are made
up of the clothes he designed as creative
director of Yves Saint Laurent from 2004
until 2012, and of Ermenegildo Zegna from
2013 to 2016. While those bodies of work
paid respect to the brands’ founding designers,
Pilati – who established himself working
for Giorgio Armani and Prada in the 1990s
– defined a creative signature for himself
suspended between the poles of stark
modernism and dazzling glamour. When
he left Zegna in early 2016, his rumoured
next power move never materialised. “Nobody
wants to work with me. I can’t work for
someone else, either,” he says. “I could when
I was younger, but fashion helped me open
up, to create and build my personality. So,
I care about all the aspects of it. And for that
reason, there’s no CEO who wants to deal
with me. I’m very much by myself and I’m
enjoying it so much. It’s beyond.”
In an elegantly dilapidated house in north-
east London, he has spent the day posing with
two fellow free spirits, Kate Moss and the Berlin-based completely”. Constantly encouraged to start his own line “NO CEO
Jamaican dancer MJ Harper. “They are probably two of the after leaving Zegna, Pilati started shaping his vision.
people in my life that I love the most, and for me that’s an “Apparently, it seems – I don’t want to sound immodest – WANTS TO
achievement. I’m a very lonely person.” Moss’s constant state that I have a lot of style,” he smiles. DEAL WITH
of evolution mirrors the way he wants his brand to be perceived, Since his Yves Saint Laurent days, he’s been lauded for ME. I’M
Pilati says, while Harper exudes both the grace and strength his personal look, which morphs masculine elegance with
traditionally attributed to the gender-specific binaries fused haute couture elements. “To me it’s quite natural. I decided
VERY MUCH
under Random Identities. “Kate broke all the beauty standards that if I was going to do my own line, it would be for that BY MYSELF
of the ’90s, and now MJ is doing the same thing.” reason: to bring my idea of style,” he says. “It was refreshing AND I’M
If Pilati feels lonely, it’s because there’s no one quite like seeing a new generation picking up on it because finally ENJOYING
him. The Milanese designer, once one of the most powerful I have the time to hang out with them. When I was working
creative directors in the fashion establishment, is building for Yves Saint Laurent, the only young people were the IT SO MUCH”
a brand without a blueprint. Not only genderless, Random assistant of the assistant of your assistant. You saw them in
Identities drops its collections when Pilati wants to, puts on the corridor but you never talked to them.” Today, Pilati
a show when he feels like it, and – perhaps most abnormally connects with his followers on Instagram, while the club
in the current fashion climate – hits an accessible price point. scene continues to inspire him. “I take the progressiveness
“I feel uncomfortable with the idea of the new generation of Berlin as a form of anti-conformism. It really opens your
spending so much money on clothes,” he says. “Spend it on mind. You’re like, wow; all those taboos and boundaries just
things that are more important. Invest in your career, travel, drop. That is inevitably a good feeling. Anything goes.”
read, go to university, or whatever you want.” The new Berlin has injected Random Identities with a heightened
generations have a special place in Pilati’s heart. When he sense of the lasciviousness that was always present in Pilati’s
and his boyfriend, Christian Schoonis, tired of their home work, which is now often rooted in the community that adores
in Paris in the early 2010s, they decided to move to Berlin. it. “Some of the clothes I design are a club uniform that gives
That decision thrust Pilati, who says he had never even you style options and functions. Sometimes I’m at Berghain,
been to a gay club before, into Berlin’s hedonistic nightlife, and I’m like, ‘Girl, I’m going to design something for you
introducing him to young fashion fans whose lives and styles because I can’t look at you like that,’” he laughs. “‘I know what
would feed an aesthetic that became Random Identities. you want to do, but it’s not working!’” Now, he says, he’s going
“There’s so much affection and respect. I listen to them and to evolve Random Identities into a brand that will serve a
I care about them. In my work, I’m trying to give them all progressive future. And if rumours that he might take over
my experience in an accessible way. What is refreshing is Armani one day persist in the industry, he’s not fuelling
that, naturally, they taught me, too. Maybe it was already them. Recently asked the same question, neither did Giorgio
within me and they pushed it,” he says, noting that the kids’ Armani. “What did he say? ‘Don’t ask me again’?” Pilati
natural approach to genderlessness “opened my mind quips. “Because we laugh about it. I love Mr Armani.” Q

313
 Naomi Campbell takes a walk on the wild side in the season’s fiercest eveningwear –
and bumps into Tyrannosaurus Rex, A$AP Rocky and Skepta along the way.
314 Photographs by Juergen Teller. Styling by Poppy Kain
GUCCI’S 1980S-
INFLECTED TRACKSUIT
AND MOSCHINO’S
PICASSO-PRINTED
MINI WILL SURVIVE
SEASONS TO COME.
OPPOSITE: VELVET
JACKET, £1,950. VELVET
TRACKPANTS, £1,400.
BOTH GUCCI. SANDALS,
FROM £830, TOM
FORD. SUNGLASSES,
NAOMI’S OWN.
GIVE BRAIDS A HEALTHY
SHINE FROM ROOT TO TIP
WITH REDKEN’S ALL SOFT
ARGAN-6 OIL, £29, AND
LOCK IN MOISTURE, TOO.
THIS PAGE: STRAPLESS
VISCOSE DRESS, £1,620.
GLOVE, FROM A
SELECTION. BOTH
MOSCHINO. SUEDE
BOOTS, £470, SAINT
LAURENT BY ANTHONY
VACCARELLO
ELEVATE ATHLEISURE
ANEW. PAIR A RUGBY-
STRIPED BURBERRY
HOODIE WITH WHITE
SKYSCRAPER HEELS
FOR DAY-TO-NIGHT
DRESSING DONE RIGHT.
OPPOSITE: STRIPED
HOODIE, £650. GINGHAM
MINIDRESS, £1,490.
LEATHER SANDALS,
£570. ALL BURBERRY.
NO MATTER YOUR
COMPANY, YOU’LL MAKE
STANDOUT IMPACT IN
VALENTINO’S FLOOR-
SWEEPING NEON.
THIS PAGE: SILK
DRESS, £4,500,
VALENTINO. PERIDOT,
SPESSARTINE AND
DIAMOND EARRINGS.
TSAVORITE, RUBY,
PINK-SAPPHIRE
AND DIAMOND
ROSE NECKLACE.
BOTH CHOPARD
 SERVE UP PRADA’S
GOLDEN LEATHER
JACKET ALONGSIDE
CHOPARD DIAMONDS.
THIS PAGE: LAMINATED-
LEATHER JACKET, £2,225,
PRADA. TRACKPANTS,
£60, NIKE. SPESSARTINE,
CITRINE AND RUBY
EARRINGS, CHOPARD.
PURE GLAMOUR IS
HARD TO PULL OFF WITH
THE SAME EASY FINESSE
AS PYER MOSS: KERBY
JEAN-RAYMOND’S
1940S-STYLE GOLDEN
YELLOW GOWN IS
A CASE IN POINT.
OPPOSITE: SILK-SATIN
DRESS, FROM £5,690,
PYER MOSS
“WARRIORS IN A
SUMMER GARDEN”
WERE DEAN AND DAN
CATEN’S DSQUARED2
INSPIRATION THIS
SEASON. NAOMI IN
A FOREST IS A PRETTY
CLOSE MATCH.
OPPOSITE: BOMBER
JACKET WITH FEATHERS,
£6,100. LAMÉ JACKET,
£1,515. LAMÉ TROUSERS,
£1,235. ALL DSQUARED2.
LEATHER SANDALS,
£895, GIUSEPPE
ZANOTTI. GOLD HOOP
EARRINGS, FROM
£1,680, DAVID YURMAN.
BOTTEGA VENETA
CLUTCHES HAVE BEEN
PACKING A PUNCH.
WHEN WARDING
OFF AGGRESSORS,
NAOMI PROVES THEM
MORE THAN JUST
A FASHION STAPLE.
THIS PAGE:
EMBELLISHED
SILK-SATIN DRESS,
£5,800. EMBELLISHED
MULES, £1,100. BOTH
VERSACE. LEATHER
CLUTCH, £1,700,
BOTTEGA VENETA.
PINK-SAPPHIRE AND
RUBY EARRINGS,
CHOPARD
 GLOW ON – ACHIEVE
LUMINOUS SKIN WITH THE
HELP OF NARS SHEER GLOW
FOUNDATION, £33.50.
THIS PAGE: EMBELLISHED
DRESS, £3,700. PLEXIGLAS
CLUTCH, £5,500. BOTH
BOTTEGA VENETA. SUEDE
BOOTS, £470, SAINT
LAURENT BY ANTHONY
VACCARELLO.
MIX AND MATCH
YOUR LEOPARD PRINTS
TO OUTDO EVEN THE
FIERCEST COMPETITION.
OPPOSITE: LEATHER JACKET,
£7,500. HOODIE, £975.
JACQUARD SHORTS, £675.
ALL DOLCE & GABBANA.
BOOTS AND HOOP
EARRINGS, AS BEFORE
A SEQUINED
BALENCIAGA CATSUIT
ENSURES BOTH
SHIMMERING GLAMOUR
AND COMPLETE
MOBILITY. YOU CAN’T
SAY THAT ABOUT MANY
THINGS IN A WARDROBE.
OPPOSITE: SEQUINED
TOP, £2,850. SEQUINED
TROUSER BOOTS, £2,450.
BOTH BALENCIAGA.
NOT EVEN THE
APPEARANCE OF A$AP
ROCKY CAN DISTURB
THE TRANQUILLITY
CONJURED BY DIOR’S
SNOW WHITE, TUFTED
COTTON HOODIE
– AND IF HE CAN’T,
THE T-REX DOESN’T
STAND A CHANCE.
THIS PAGE: PONCHO,
£4,300, DIOR.
FEATHER MULES,
£595, BALENCIAGA
 ALEXANDER MCQUEEN’S
LUSTROUS LAYERS OF
BEETLE-BLACK LINEN TAKE
ROCK’N’ROLL DRESSING
INTO NEW TERRAIN.
OPPOSITE: DECONSTRUCTED
JACKET, TO ORDER.
LEATHER TROUSERS,
£2,490. BOTH ALEXANDER
MCQUEEN. VEST, £45,
COMMANDO, AT
SELFRIDGES. JET AND
BLACK-DIAMOND
COLLAR, £4,495,
JACQUELINE
CULLEN
327
 OFF-WHITE’S HOT-PINK
TRENCH INVOKES COOL
INSOUCIANCE, NO MATTER
YOUR SURROUNDS.
THIS PAGE: LEATHER COAT,
£2,705, OFF-WHITE. VEST
AND COLLAR, AS BEFORE.
IF YOU’RE GOING TO
SUCCUMB TO ANYTHING
THIS SEASON, BALMAIN’S
LUMINOUS PAILLETTES
MIGHT WELL BE IT.
OPPOSITE: PLEXIGLAS
DRESS, TO ORDER,
BALMAIN. SUEDE AND
LEATHER SANDALS,
£575, JIMMY CHOO.
PRICES ON REQUEST
UNLESS OTHERWISE
STATED. JEWELLERY,
NAOMI’S OWN, UNLESS
OTHERWISE STATED.
FOR STOCKISTS, ALL PAGES,
SEE VOGUE INFORMATION.
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DRIZYTE. HAIR: LORENZO
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ARTWORK: CATALIN PLESA
AT QUICKFIX RETOUCH

328
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330
 VOGUE ASKS

Where’s a
good place for
Dutch food
in London?
“Go to De
Hems Dutch
Bar in Soho.”

What makes a
great Sunday?
“A dog walk
followed by a
Sunday roast.
Then settling in
to complete a
really difficult
crossword in
the paper.”

Do you have a favourite pair of shades?

“I had a great pair from McQueen, but I lost them
on the Buzz Lightyear ride at Disneyland Paris.”
Sunglasses, £325, Alexander McQueen

Which beauty products

do you use every day?
“My skincare routine

What would
is pretty simple.
I use a Nivea cream.”
Nivea Daily Essentials
Regenerating Night

Lara Stone do?

Cream, £4.50

Given the chance,

Advice on love, style and living like royalty from the Dutch model whose wardrobe
TRUNK ARCHIVE; DON ARNOLD/GETTY IMAGES; MARK R MILAN/GETTY

would you raid?

“Rihanna’s – and
COMPILED BY TIMOTHY HARRISON. @LARA_STONE; BJORN IOOSS/

How do I know when I’m in love? in each other’s hometown, so you I would raid
everything.”
When you start acting like a teenager. can catch up and gossip.
IMAGES; TODD WILLIAMSON/GETTY IMAGES; PIXELATE.BIZ

What was your last fashion buy? How do you get a party started?
Flats, heels
I can’t remember the last time I bought Start dancing! or trainers?
something for myself. What’s your red carpet beauty secret? “Definitely trainers,
because, falling over,
I’m going on a first date, what should I wear? A Runway Laser Facial from obvs. Although I
Something that makes you feel confident. Dr Colbert at NYDG. did break my ankle
What should a tourist in Holland never do? Who makes the world’s best chocolate? once wearing
trainers, so…”
Rent a bike. That’s easy, it has to be Cadbury. Trainers, £80, Fila
You have £1 million and only 24 hours to If you were the Queen for a day, what
spend it, what do you do? would you do?
Buy a nice piece of land and let it rewild. Go through her jewellery box, of course.
When do you know that you have a fashion And if there was time left over, I’d demand
friend for life? to be told all the big secrets, and maybe get
When you don’t see each other for months some people locked up in the Tower…
but you always let each other know when you’re Probably best I shouldn’t be Queen. n

331
 < 266 IRINA SHAYK
that moment when they handed my daughter to me, thinking,
“What am I supposed to do?” The next thing I know she’s in the crib,
waking up every two and a half hours to be breastfed. It’s definitely
a learning process. But one thing I can tell you, my relationship with
my mom changed.
Yes, I was going to ask you about that.
I was born in the Soviet Union in ’86 – we had no washer, no dryer,
no diapers. My mom had to stand in line for two or three hours with
my sister, who’s 18 months older than me, to get a bottle of milk. When
my daughter was one and a half, I called my mother and I said to her,
“I cannot believe you had a second baby raising us in that time.” She
told me, “What are you talking about? The second baby was you! You
wanted to tell me not to have you?” I really respect who she is, you
know, after my father died… [starts crying].
I’ve met your mum. She’s amazing.
Sorry. Five-minute cry break!
Always. OK, let’s change the subject. Between work and family, how
do you find time to date? Are you ready yet?
Well, I’m still adjusting. It’s a new chapter in my life, and I really believe
in fate. If the universe sends me the right person, I will think about it.
Do you think people are a little shy to approach you?
I’m going to tell you something I’ve never told anyone. I’ve had several
boyfriends and men in my life who have said they are scared of Irina.
Why?
Well, first of all, there is a stereotype about Russian women – you know,
she loves diamonds and vodka. I mean, hell, I do like that [laughs].
Who doesn’t?
Who doesn’t! I’m a tough person. I have a strong personality and I
definitely know what I want, and I think some men are scared of that.
If somebody’s out of my life, they’re out of my life and I really cut all
the ties, you know? I think some people are really scared of this coldness.
I also think not many people know that underneath this there’s a nice,
sweet person who cries in interviews.
Can you talk a bit about life with, and now after, Bradley.
Life after Bradley is definitely reflective, and I think in all good
relationships you bring your best and your worst – it’s just the nature
of a human being. Two great people don’t have to make a good couple.
I think we’ve been very lucky to experience what we had with each
other. Life without B is new ground.
How have you been doing?
I’ve been doing OK. I have a new love in my life, and it’s Lea.
How is co-parenting after a break-up? What have you learnt, and what
advice can you give to other single mothers?
I always say, “What is co-parenting?” Co-parenting people say, “Oh,
you know, it’s 50/50.” But I’m not 50 per cent of a mom, I’m 100 per
cent. And he’s 100 per cent of a dad. So I don’t see that as co-parenting.
Sometimes, when I say to myself, “Wow, I’m a single mom,” it can
sound a little scary. But it’s doable, and I think women can really handle
a lot of things. I’ve never had a male figure who came into my life and
took care of me. Never.
How do you switch off? Do you have time for yourself?
Every time I take time for myself I feel guilty – I’m sure so many single
moms can relate to this. But I am queen of the spa [laughs].
As one of the world’s sexiest women, when do you feel your most sexy?
Sexy is not just a push-up bra, red lips, high heels and big hair. It’s an
oversized man’s suit. It’s sweatpants. I’ve never met a woman who isn’t sexy.
Where do you see yourself in 10 years?
I just try to enjoy this moment, because life moves so fast, you really
don’t know what’s going to happen. I just hope in 10 years I’m healthy
and my daughter is healthy and my family is happy.
Well said. Lastly, I think it’s very important to say that you also happen
to be one of the funniest people I know.
[Laughs] Thank you. I love people who don’t take themselves seriously.
I don’t have a lot of friends; I don’t open doors to many people in my
life because I’m very protective of my space. But one thing I never
lost is a sense of humour. Q clear. “I’d call it responsibility.”
332
< 294 NAGA MUNCHETTY
She was broadly championed, but a single formal complaint was made,
claiming she “fell short of due impartiality” and had responded
“critically on the possible motive for, and potential consequences of,
the president’s words”.
Her first reaction was to ignore it. Presenters get complaints all the
time. “My whole attitude was: I’m not the story. This is an internal
issue, and I’ll deal with it how I wish, which is to keep quiet and get
on with my job.” She worked, saw friends, golfed (she has a nine handicap
– “better than him!” she quips of Trump) and kept her head down. But
come September, The Times broke the story that an internal BBC inquiry
was set to reprimand her. “Race Row at the BBC,” screamed the inevitable
headlines. When the corporation confirmed it was partially upholding
the complaint, it was a full-blown crisis.
Granted, two days later, Tony Hall reversed the ruling. “Racism is
racism and the BBC is not impartial on the topic,” he wrote in an open
email to staff. But not before public outcry, including an open letter to
The Guardian from 61 leading broadcasters condemning its actions.
Which raises the question: is the BBC, like so many organisations,
institutionally racist? Munchetty pauses. “See, the problem with you
asking me a question like that, Giles, is the answer I will give will be
your headline,” she says. “I’m going to turn it on its head: find me
a large organisation, and find me an employee from a minority group
who feels they are able to bring their true self to work today. I don’t
think you’ll be able to.
“What I will say is very positive things have come out of this,”
she continues. “What it has done is raise an uncomfortable conversation
that needed to be raised. An ugly, ugly subject, and not something
that only happens in the BBC.” Do you get much face time with Hall
now? “We have regular meetings since this has happened, because
he wants to listen,” she says. “Trust me, he’s angry that this is happening
on his watch.”
She’s had a lot of support. From people in the street – “Go, Naga!”
– and her starry co-workers. It’s the junior colleagues who worry her,
though. She was approached by a young staffer recently outside the
quayside studios who said, “I don’t know how much longer I can stay
here.” She shakes her head. “If I can’t say something, how is a young
producer going to be able to say stuff without fearing that they’re going
to be seen as someone with a chip on their shoulder? They’re in
environments where the management, or those above them, don’t look
like them, don’t have their experiences. We’re talking class, we’re talking
sex, we’re talking about sexuality, we’re talking gender. We’re talking
about everything. Not just colour.”
“We’ve got a moment where big corporations are going to start looking
at themselves and say, ‘This is not good enough,’” she says. Naturally,
initiatives are afoot to bring in and promote more minorities. She
supports them while having no illusions about the scale of the task.
“We hold ourselves up to a much higher standard. We agonisingly tear
ourselves apart, self-examine and self-flagellate, and do you know what?”
she adds, fiercely. “Rightly so.” For now, though, whether it’s in the
corridor at work or in an email, she finds herself encouraging her minority
co-workers to “hold on”.
Having said what she wants to, Munchetty visibly relaxes. The last
of the bottle is poured. “I was brought up to assimilate, not rock the
boat,” she says. Yet here we are. This afternoon she’ll return to her
regular life; gym (“I’m more scared about the photoshoot than this
interview”), then home to her husband tomorrow. More golf, more
theatre nights, more cat content posted to her Twitter.
And what then? She adores Breakfast, has pay parity with her
colleagues, and no intention of leaving. But surely the biggest
jobs beckon – Today? Newsnight? Fiona Bruce can’t keep Sunday nights
to herself forever. “You know, I kind of think The Krypton Factor should
be brought back. I have this really competitive edge about me.”
One thing is certain; Munchetty has carved out her space as one of
the most influential faces at a corporation struggling to make sense
of itself for a new decade. “I wouldn’t call it power,” she says, her gaze
Q
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 ON THE
CONTINENT
From medieval chateaus to modern mansions, Rosemary Brooke
explores the finest holiday homes in Europe

LAS ALBERCAS AT
FINCA CORTESIN, SPAIN
These new properties in the grounds of the
award-winning Finca Cortesin hotel on the Costa
del Sol are designed to be stylish and sustainable.
They are scheduled to complete in autumn 2021,
when residents will be able to take advantage of

O
ne of my favourite books is
Elizabeth von Arnim’s 1922 classic
The Enchanted April, in which a
group of British women escape
the dreariness of a cold and wet London to
spend a month in a rented Italian castle, lured
by the promise of ‘wisteria and sunshine’. The
glorious contrast in both the weather and their
surroundings not only lifts their spirits, but
ultimately turns all of them into much nicer
people. Holiday homes always bring with them
that sense of anticipation and hope – that the
power of a place will help to smooth away the
million worries of our daily lives and allow us
simply to be ourselves. They’re somewhere to
retreat and relax, to get together with family
and friends. And where better to buy a second
home than in Europe? It has a fantastic variety
the hotel’s extensive facilities, including the 18-hole
golf course. From €1 million.
Finca Cortesin Real Estate: 00 34 952 937 777
of properties – from romantic French chateaus
to Balearic island retreats – all of which are just a
short plane journey away.
If you dream of having a holiday pad that
has all the conveniences of a luxury resort, then
consider one of the new properties currently
being built at the smart resort of Finca Cortesin,
located between Marbella and Sotogrande
in Spain. The resort has recently been given
a Readers’ Choice Award by Condé Nast
Traveller, naming it the leading hotel in Spain
and Portugal. It’s easy to see why – it has excellent
restaurants (one of them Michelin-starred),
pools, a state-of-the-art spa and a world-class
golf course. The Finca Cortesin Las Albercas
residences will range from two to four bedrooms,
some with their own private pools and terraces.
More than ever, buyers are looking for overseas
properties with a potential income to help cover
the running costs. ‘The second-home market
has changed significantly over the last decade,’
says Paul Tostevin, director of Savills World
Research. ‘Once it was a discretionary purchase
primarily for the owner’s own use, but today’s
global market is driven by income returns.’
Chateau Lembeye in south-west France
would meet these criteria – with its 10 bedrooms
and ample space for entertaining, there’s scope
for it to be used as a wedding venue or a rental
property. The picturesque chateau dates back to
the 14th century and has far-reaching views that
 BURALLA, ITALY
This traditional farmhouse lies 14 kilometres from
the historic city of Lucca, set amid the wooded
hills. The eight-bedroom property has been
restored and modernised, but retains its rustic
charm, while the six hectares of land includes a
swimming pool and an olive grove. €5 million.
Knight Frank: 020 3925 9100

LAS ATALAYAS DE ABAMA, SPAIN

Located in the grounds of Tenerife’s world-
renowned Abama Resort, each of these 10
properties sits on its own private plot, each
with a pool and sea views. The villas have airy,
open-plan layouts, and owners can avail of the
resort’s many amenities, including the excellent
golf course. From €1.035 million.
Abama Resort: 00 34 922 126 011

MUNTERS VÄG 26,

SWEDEN
Occupying a spectacular
position on Lake Mjörn near
Gothenburg, this property
would make a wonderful
holiday home for water-
sports enthusiasts. Built in
1929, with plenty
of elegant architectural
details, this country house
is an atmospheric rural
retreat. SEK 29.5 million.
Christie’s International
Real Estate:
00 46 706 174 404

THE SEAHOUSE,
SPAIN
This contemporary hillside
villa occupies a prime spot
in the fashionable enclave of
Port d’Andratx in Mallorca.
It was completed last year,
and has a total of five
bedrooms, split between
the main property and the
adjacent guest house. There’s
also an infinity pool – perfect
for contemplating the
spectacular sea views.
€13.7 million.
Engel & Völkers:
00 34 971 67 47 80
CHATEAU LEMBEYE,
FRANCE
This historic chateau in
Aquitaine has medieval origins
and sits on 13.8 hectares of
land, including an established
vineyard and woodland. It has 10
bedrooms – the master suite has
a steam room and study –
as well as a separate guest
annexe. €2.09 million.
Home Hunts: 020 8144 5501
stretch as far as the Pyrenees. There’s even an
established vineyard, if you’re keen to set up a
winemaking business.
In Italy, Villa Medici on the Tuscan coast is
another European jewel that could be rented
out when not in use as a holiday home. It’s easily
accessible – a 20-minute drive from Pisa airport
and an hour from Florence – and is set within a
22-hectare estate.
The historic building was originally a hunting
lodge belonging to the Medici family, and
was enlarged in the late 19th century, when it was
ONE&ONLY KÉA, GREECE
Occupying a tranquil, beachside spot
on the closest Cycladic island to
mainland Greece, One&Only Kéa
Island is a luxurious new resort, with
a number of private homes for sale.
It’s set to launch in 2021, and its many
facilities will include three restaurants, a
beach club and a spa. From €3 million.
One&Only:
www.oneandonlyresorts.com/kea-island
 VILLA MEDICI, ITALY
This historic villa in Tuscany is surrounded by its own land
– including olive groves that can be harvested to produce
home-grown olive oil. There are enough bedrooms to
host the largest gatherings – 10 in the main house,
plus several separate apartments. £4 million.
Casa & Country: 020 7993 2967

bought by the ancestors of the present owners.

It still retains plenty of impressive original
features, from the bell tower and the casement
windows to the beautifully ornate frescoed
ceilings on the ground floor. High french
windows lead into the garden, where sun-kissed
lawns and ancient trees are surrounded by the
rolling hills.
So although it may be almost a hundred
years since von Arnim wrote her ode to an
Italian castle, there are still no end of European VILLA CASSEDDA, ITALY
hideaways to bring joy to all who live in them. Located on Sardinia’s beautiful Costa Smeralda,
this 600-square-metre villa has a separate guest house and a
large heated swimming pool. With extensive outdoor cooking
facilities and a dining area on the terrace, there’s plenty of
VILLA CALLISTI, GREECE opportunity to enjoy the glorious surroundings.
High in the hills of Agia Sofia, €6 million.
overlooking Mykonos Town, Sphere Estates: 020 3617 1360
this villa has been cleverly built
into the island’s rock face.
Arranged over several levels, with
five bedrooms, expansive living
areas and three large terraces,
it’s both a tranquil family home
and an excellent space for
entertaining. POA.
Beauchamp Estates Mykonos:
00 30 22 89 02 47 97
OUR PARTNER IN THE AIR

THE BEST ADDRESS
Luxury homes of exquisite style and elegance lie behind the Grade II-listed stucco facade of
13–19 Leinster Square, off fashionable Westbourne Grove
L
ight pours through long, elegant windows
onto the Versailles oak parquet floor of a
living room dressed in a mix of bespoke
furniture, contemporary art, vintage eclectica
and layered, textural fabrics. The south-facing
view overlooks a manicured mid-19th century
garden square noted for a plane tree planted
to mark Queen Victoria’s Diamond Jubilee; to
the rear is a stunningly designed outdoor
terrace, perfect for peaceful lounging and al
fresco entertaining.
Timeless, chic and intriguingly full of storied
eye candy (a 15th-century barnacled urn
sourced in Copenhagan, a Picasso lithograph,
“Cloud” chandeliers), this combination of
contemporary functionality and understated
style is the signature of Banda’s newly completed
Leinster Square development. There’s an
intuition at play in the design, inspired by a
clear understanding of who will live here, and
how they like to live. Walk into any one of the
five townhouse maisonettes, eight expansive
lateral apartments or two stunning penthouses
(complete with sunken roof terraces), and you
find wow-factor gilded with a five-star liveability
rating. The spaciousness, the light, the beautiful
brass fittings that add warmth to the soft grey
palette, the cantilevered marble, capacious
storage and cleverly hidden technology!
The mission of Banda, founded 14 years
ago by Edoardo Mapelli Mozzi, is not just to
build prestigious, detail-perfect properties, but
to create exceptional homes for residents to live
in and love. As well as boutique developments,
the company works on up to six private
commissions per year. “We build properties
for owner-occupiers, so we have a different
mindset,” he says. “We focus on nuances of
quality with a sensitivity to a building’s heritage,
location and architectural style and we work
PROPERTY PROMOTION
with specialist craftsmen we have discovered
along our 14-year journey.”
The hub of Westbourne Grove and buzz
of Portobello Road has long held global appeal
for its celebrated boutiques, antique market,
restaurants, bars and cafés. Lying between
Notting Hill and Bayswater, Leinster Square
sits in an area that blends heritage architecture
and cool bohemian culture. With large, lateral
apartments a rarity in the area, it is no wonder
that the properties have received high-profile
interest. Each property has private access, a
large hall and intricately restored Victorian
cornicing and ceiling roses. Prices start from
£5.9million for a third-floor lateral apartment.
Please visit bandaproperty.co.uk or
13-19leinstersquare.com; call
+44 (0)20 7937 9600 or email
info@bandaproperty.co.uk
 AN EVENING WITH SAVILLS
Tropical glamour was the theme of a fun-filled evening as Savills and Condé Nast
Property hosted their first joint Caribbean Property Show
‘The energy has returned to a fantastic destination,’
said James Burdess, Head of Caribbean Sales –
and dreams of living amid white sand and
sparkling seas became reality as Savills and Condé
Nast Property hosted a party at the Mandarin
Oriental Hotel in Knightsbridge to celebrate
a successful event showcasing remarkable new
Hugo Thistlethwayte Paul Belmondo opportunities in the islands.

Jennifer Straker, Hon Miss Marsha Caddle,

Sir Trevor Carmichael and Rebecca Burdess

Sir Paul Altman and James Burdess

Achille Pastor-Ris and Duarte Correia

Sir Peter Tapsell and Lady Rachelle Altman

William
Anderson

CONDENASTJOHANSENS.COM
ES SAADI MARRAKECH RESORT, MOROCCO

MADE IN BERMONDSEY
Bermondsey is where fashion meets food, art and culture in the heart of SE1
C
elebrating its warehouse vibe and labyrinthine maze of
historic streets, with galleries, independent retailers and
designers in spectacular former industrial buildings, the
Sunday Times has chosen the district as one of the best
places to live in the capital for the past five years.
The Fashion and Textile Museum, arthouse cinema Kino and White
Cube art gallery can be found alongside creative and tech businesses.
The area has become one of the top foodie destinations, with
colourful specialist produce street markets alongside culinary hotspot
restaurants, gastro-pubs, craft breweries and distillieries.
At the centre of this exciting district, London Square Bermondsey, a
new £220m neighbourhood, is taking shape close to all the attractions
of Bermondsey Street, a 12-minute walk to London Bridge station and
the Thames, with Jubilee, Northern lines and National Rail, cycling
routes and good bus links.
The first phase of London Square Bermondsey is The Tannery,
designed by y Architects, featuring a striking new building,
and the restoration of the original Tannery warehouse, to create
apartments and townhouses. The former industrial site was also the
home of a Crosse & Blackwell Branston Pickle factory, being converted
into stunning homes, with galleries and studios for Bermondsey-based
PROPERTY PROMOTION
Tannery Arts, work spaces, leafy new squares and open green spaces as
part of the 4.7 acre redevelopment – the showcase scheme in the wider
regeneration for the wider Old Kent Road area.
Award-winning developer London Square is selling a collection
of stylish one, two and three-bedroom apartments, including a
number of highly individual apartments with quirky, stand-out
interiors, plus a range of townhouses, all with excellent specification
and detailing, from contemporary, clean lines to warehouse style
interiors. Many have dual aspect, and in some cases, triple aspect,
maximising light and space, with some apartments enjoying fabulous
views across the capital, with open-plan living areas for relaxing or
entertaining. All apartments have private outdoor space, balcony or a
private terrace, with concierge and an on-site gym, equipped with the
latest cardio and conditioning machines.
Rebecca Littler, Sales and Marketing Director of London Square,
says the development has attracted people working in the City and
West End, as well as locals: “Our buyers love Bermondsey’s authentic
atmosphere. They want to be at the heart of it.”
Apartments are from £625,000 and townhouses from £1,140,000.
Call London Square on 0333 666 4343.
 NOTEBOOK
A round-up of the latest property news,
at home and abroad
BY ROSEMARY BROOKE

IDYLLIC LIVING ON IBIZA

Whether you visit Ibiza for its legendary nightlife or to enjoy a sun-soaked
getaway, this spectacular villa is ideally situated to enjoy the best of both. AT YOUR SERVICE
Can Castel is a short drive from Ibiza Town and the airport, yet the 10-bedroom If you’re seeking a more personalised and less stressful approach
property has a tranquil atmosphere, with stunning views of the sea and hills. to buying, selling or letting, the residential property consultants
With a large pool, a gym and a tennis court, there’s plenty to do INHOUS could be the solution. With years of experience in the
without ever having to leave the grounds. €18.9 million. prime central London market, the team offers services spanning
For more information, visit www.quintessentiallyestates.com everything from accurate valuations to relocation support. If
you’re looking to achieve the best price for your home, trying
to find the house of your dreams, or seeking a comprehensive
AN ADVANTAGEOUS ADDRESS lettings and management service, they’re perfectly placed to help.
Few properties have as regal a setting as No. 1 Palace Street, a For more information, visit www.inhous.com
collection of 72 apartments located on a splendid site directly
opposite Buckingham Palace. The historic building is being
meticulously restored, and will have over 10,000 square feet of
residents’ amenities, including one of the most impressive private
pools in the capital. Each apartment will have an individual design,
bespoke to its new owner – offering a unique opportunity to
acquire a truly palatial city pad. From £2.55 million.
For more information, visit www.cliftonpropertypartners.com

SUPER STYLISH SPACES

Since 1972, The Malins Group has been designing and building
property developments in London and the south of England,
growing its own investment portfolio as well as offering clients
an end-to-end service that spans everything from planning permission
to sales. Recent projects include The Metalworks in Clapham (pictured
above) and a development in the heart of historic Greenwich. The
in-house design studio also works on private homes, to create stylish
interiors while maximising property value.
For more information, visit www.malinsgroup.co.uk
 Introducing the latest production from Filmworks, starring a stunning collection of art-deco inspired
1, 2 & 3 bedroom apartments and penthouses in the heart of Ealing. Many homes offer south facing views towards
Ealing Green, Walpole Park and the newly renovated Grade I listed Pitzhanger Manor.

PRICES FROM £599,950*SHOW APARTMENT OPEN VIEW TODAY

ENQUIRIES 020 3553 7717 OR SALES@FILMWORKS-EALING.CO.UK

*Prices and details correct at time of going to press. Computer Generated Image is indicative only.

www.filmworks-ealing.co.uk
Proud to be a member of the Berkeley Group of companies
CHARLOTTE RAMPLING
DOCUMENTED BY CRAIG MCDEAN
GIVENCHY.COM
YSLBEAUTY.COM

THE EAU DE PARFUM