TATJANA PATITZ

Known as one of the original supermodels and fashion icons, Tatjana Patitz takes on a trip through the dreamy, psychedelic landscape of a deserted beach.

Dress by Lana Mueller

Photography by Djeneba Aduayom | Styling by Sarah Toshiko West | Model Tatjana Patitz @ The Model CoOp

Hair by Preston Wada using Kevin Murphy, Makeup by Amy Clarke using skincare by Patyka, makeup by Vapour Beauty, Art Direction by David Moran, Stylist Assistants Taylor Murray and Andrew Earley, Production Assistant Tommy Johnson

Sweater by Issey Miyake

Coat by Versace and Dress by Lana Mueller

Dress by Lana Mueller, Earrings by Lucky Brand

Jumpsuit by Julia Clancey

Turtleneck by Jil Sander, Dress by Peggy Hartano

Dress by Prada

Dress by Julia Clancey

Coat by Missoni, Dress by House of CB

Dress by Aya By DK, Skirt by Jil Sander

Cape by Sebastian Gunawan

WEB EXCLUSIVE – GOING ROUGE

Photographer/Creative: Kimber Capriotti @KimberCapriotti | Model: Alina @alina_schulzen with Silent Models @silentmodelsny
Creative Assistant: Coco Ho @cocosrealm | Stylist: Gina Marie @ginamariestylist | Makeup/Hair: Zee Gustafson @zeeartistryllc

Coat and Shoes by Mansur Gavriel | Bodysuit by Givenchy

Top by Monse | Skirt by Givenchy| Shoes by Trademark

Coat and Shirt by Derek Lam | Glasses by Poppy Lissiman | Gloves by Fratelli Orsini

Gloves by Fratelli Orsini

Dress by Courrèges | Turtleneck by Calvin Klein | Bag by Mansur Gavriel | Ring and Bracelet by Chloé

Suit by Stella McCartney | Bodysuit by Givenchy | Shoes by Mansur Gavriel

TARAJI P. HENSON

Taraji P. Henson and Pam Grier talk shop on their shared experiences playing formidable roles for women of color, executing death-defying stunts, and uniting women in entertainment.

Dress by Alexandre Vauthier, Hat by Eric Javits, Stay-Up Tights by Falke, Shoes by Aquazzura
Interview by Pam Grier | Photography by Alexander Saladrigas @ Cerutti and Co | Styling by Ron Hartleben

Taraji P. Henson is a typhoon of energy when she arrives curbside at the Plaza Hotel for her cover shoot. With an entourage in tow, Henson’s seven-day work weeks are the new normal for an actor in such high demand. Rising to fame years ago with her Academy Award nomination for her lauded role in The Curious Case of Benjamin Button, Henson proved with her talent and tenacity that she had staying power. Now, beloved by Empire fans as the one-and-only Cookie Lyon, Henson’s take on the badass-boss-queen character earned her a Golden Globe, Critic’s Choice Award, and two Emmy nominations, as well as fashion-cred from her fans for her character’s memorable high-drama designer looks. Gaining international recognition and several awards and nominations for her role as NASA scientist Katherine Johnson in the historical drama Hidden Figures, it’s evident that Taraji brings a range and depth to her characters that incites a devoted audience, and garners accolades of esteem from an industry that has an infamous history of shortchanging roles for women of color.

After years of working odd jobs as a Pentagon secretary and a singing waitress while completing her degree at Howard University, Taraji moved to Los Angeles to pursue her dream of becoming an actress. With her young son Marcell accompanying her, Taraji juggled being a mother while working as many roles as she could – a work ethic she refuses to shake to this day. Through her years in Hollywood, Henson has grown a thick skin and learned to adapt to the ever-changing landscape of show business, building off of the foundation laid by the women who came before her, and adding her contribution to the empowerment of women in entertainment. Dressed to kill in the upcoming action thriller, Proud Mary, as a hired hit-woman, Taraji chooses yet another career-defining role, pushing the envelope while balancing the razor wire between her signature bulletproof strength and intrepid vulnerability – something she’s managed to turn into a touchstone of her work.

One pioneering actress who helped pave the way for women of color in entertainment is legendary cultural symbol, Pam Grier, known for her iconic roles in Foxy Brown; Coffy; Sheba, Baby; and Jackie Brown. Here she interviews the newest face of black female action stars: Taraji P. Henson, for an IRIS Covet Book exclusive.

Jacket by Michael Kors Collection, Jewelry by Marc Jacobs, Stay-Up by Wolford

Coat by Landlord, Bra, garter and underwear are Vintage Christian Dior at My Haute Wardrobe, Stay-Up Tights by Wolford, Shoes by Manolo Blahnik

Taraji, how are you? Girl, congratulations I am so happy for you! I can’t wait to see Proud Mary.

Thank you, thank you! I can’t wait to see it either–we’ve just finished shooting.

Well, the trailers look fantastic! And to see that 50 years later is overwhelming because I was out there by myself, I was just trying to show an example of our culture, our black women, who we are. This is who we are. Nothing can stop you. You have wings, spread them.

Yes, ma’am.

When you won your Golden Globe for playing the role of Cookie Lyon on Empire, girl, I think I screamed louder than you! What does Cookie mean to you? How much do you identify with Cookie’s character?

I think what I have in common with Cookie is her fight; you’ve got to fight to be in this business, especially as a woman, and a woman of color. You’re always fighting. So, I think I have that in common with her for sure. The mother lion… I identify with how protective she is of her family. I identify with how protective she is of her family. I identify with what she will do for her family, the great lengths she will go for her family. Cookie chose to go to jail to save her boys from becoming a statistic in the hood. She didn’t want them selling crack like she did. She sacrificed her freedom for her family. Now, I don’t know if I would sell drugs for my family. That side of Cookie, I have to find another way to hustle! (laughs).

At the same time, I grew up in the hood. I grew up in the ‘80s, and I remember when crack was dropped off in the hood, so I can understand her thinking. Your [tax] refund, your McDonald’s income, or working at the grocery store as a clerk are not going to do it. So I understand your back being pushed up against the wall and that’s all you’ve got; I get it. But growing up in the hood, I saw all my friends who chose that path, and well…I couldn’t. That life was not enough for me, I needed more. I chose to go the tough route.

That’s where Cookie and I are different. I had friends in the drug gang, but I chose not to be. I chose to work doing data entry at 16-years-old making $4 an hour. I didn’t want to risk my freedom because I had things to do, and I knew there were other ways to be successful. There are other ways to accomplish your dreams. But I still understand her, that’s why I didn’t judge her. As an actor, you can’t judge. At first, she scared the hell out of me. I was like, Oh my God, this character is crazy. The viewers are going to hate me. Black people are going to be like, Why did you make us look like this? And then, you know, I peeled back the layers and found her truth. I thought if I play her truth then the audience will empathize with her, they will understand her, and they will understand why she made the choices she made.

And now you’ve got the support and they are moved, touched, and rooting for you! Sometimes as we work, there’s so much going on from scene to scene that the audience doesn’t get a chance to really absorb or savor all of those elements that you just described as the actor.

And especially on TV. I mean, you have to follow the series because you only have 43 minutes to tell a story. The beautiful thing about TV is that you get to watch each episode through the series and track the character’s journey and struggle. If I feel like I can’t bring the truth to a character, then it’s not the job for me. I’m not the only actress on this planet. There’s enough work for all of us. (laughs)

That was my philosophy as well! It’s a beautiful platform to have. When I would be working on a project and I would be sent scripts, sometimes I’d say, “You know who’s good for this? Vonetta McGee. Send this to her.” We always shared, and there weren’t that many movie roles.

I also wanted to welcome you to the “Action Woman’s Club!” You’ve got to tell me about Proud Mary, who she is, and the challenges you faced playing her. Now this looks like you’re going to take some blood!

Mary’s a different character for me. I played a killer before, but she was an ex-army sniper. Mary struck a chord in me because she’s a woman and she is a hired killer. She gets paid to kill. That was interesting to me because that’s usually something men do. We’re emotional creatures; we feel. I wanted to explore that side. The beautiful thing about Mary is you’re meeting her at a crossroad. The audience is meeting her where she wants something else for her life. She has never felt maternal, and all of a sudden she meets this kid through whom she sees herself. She sees a chance to not only save herself, but save this kid from the same life she’s had.

Mary was an orphan and she was found by Danny Glover’s character who is a big mob boss. She just was, instinctively, a good killer. I think people are going to want to see this movie because Mary is different, they’ve never seen a serious female black killer. She is a real, straight up, all-about-her-business hit woman. It’s not funny, it’s not jokey, there is no wink-wink on the side. It is very serious, like when you see Liam Neeson or Tom Cruise. You’ve seen white women do it on this level, but you have never seen a black woman in this light.

No, because black women have been so invisible, but not now, not today. I hear you like to take on roles that scare you, why is that?

I know right away that it’s going to be a challenge. I don’t want anything easy. Those are the roles I look for because, in those roles, I will grow. That means it’s going to stretch me. That means, Oh I’ve never done this before. I’ve never tapped into this emotional shit, how do I get there? Proud Mary scared the hell out of me. I’ve never done action before in my life. I wasn’t used to being as physical. If I had it all to do again, I wish we had had more time to train. The great thing about it is, we did reshoot to make it even better because that’s how much the studio believes in this film. I worked seven days a week like a crazy woman to get it right. When we went back to reshoot, the stunt coordinator was really blown away. He was like, I can’t believe you caught on that fast, and I was like, Imagine if we had three weeks to train!

Jumpsuit by Dundas, Boa by Helmut Lang, Earring by Erickson Beamon, Shoes by Aquazzura

Clothing and Shoes by Alexander Wang

What was the research you had to do to play a character who kills?

I came across this guy called The Iceman and I can’t let him go. He was a very handsome man. I forget where he operated out of… New York maybe? But what I found so interesting about him was that he had a family. This man had a family! He had two beautiful daughters and a wife, and he was a hitman. He would go home to his family and they did not know what he did. Finally, he got caught.

I watched his interviews to research the role and psychology. There was a charm about him. He was dangerously charming, and I found myself thinking he was handsome…this is a man who kills people. So, then I thought, Wow, what do you turn on and off inside you to just go out and kill people, and then go back home to your family like nothing ever happened? But Mary is a woman, so how do I make this make sense? Is she void of her feelings and then all of a sudden it changes? It was just a lot of things that I had to explore, and I think after awhile it just became too much, too much blood on her hands. Where is my retirement? You know? When do I get to kick up and get my pedicure, my manicure and live a normal life? You know, everybody wants to retire at some point; I don’t care what you do.

Were there any challenging stunts?

I was shooting a MP5 rifle and you have to smack the trigger to make it look cool on camera. They kept saying, Karate chop it. Well, thank you because now I have blood blisters on my hands! I threw my shoulder out when I had to do this stunt where I had to swing that rifle around with one arm. That’s a heavy rifle! In another stunt, I had to throw a guy over my back. I bit my lip. I got smacked in the head with the magazine of my partner’s rifle. I have bruises. These are the things people don’t realize when they see it on the screen, it’s, Oh that was incredible! No one really understands that you’re risking your life in it. If you’re tired, if you’re fatigued, you make the wrong step, you could really hurt yourself.

Oh yes, I’ve gotten many bruises and scrapes too. Often people couldn’t believe I was a lead that held a gun, that I played a character that could actually take a life and defend my family and myself. They were so shocked, and that realm created the audience for a woman in action films.

Now, I know you’re about to star in the upcoming movie, Best of Enemies. Tell me about playing the real life civil rights leader, Ann Atwater, and her association with the leader of the Ku Klux Klan.

This movie is about how love can conquer hate. Ann Atwater was a poor woman; so was Claiborne Paul Ellis, the Ku Klux Klan character that Sam Rockwell plays. They were both poor, living in a poor neighborhood. The school where the black children attended burned down, so the children had to integrate into the white school. Well, of course, the white people of the town had an issue with that because there was a heavy Ku Klux Klan influence. The councilmen and a lawyer from the North had to step in to come to some kind of agreement for these kids.

Through this process, things were very hateful and scary. People’s lives were threatened. It wasn’t easy back then trying to mix the races, but Ann was boisterous; she didn’t care. She spent her entire life in poverty, but she fought for those people just like her. She was very loud about it; you could hear her before you see her. So, she and Claiborne developed a friendship through this tumultuous time and he ended up denouncing the KKK. They were the best of friends; their story is beautiful and I can’t wait until it comes out.

To play Ann Atwater, I had to totally change the way I look. I wore a fat-suit because we don’t look anything alike. I remember the paparazzi came on set one day. They saw a light skin woman with hair slick and styled, and they thought that was me. But Ann Atwater had a short afro and I had darkened my skin because she’s a little darker. So, they didn’t spot me. So, when it came out in the local newspaper, that Taraji P. Henson was in town filming her movie, the picture wasn’t of me and I was so happy because I didn’t want those images floating around yet. It would have been like they kind of gave us away before the movie poster had been released. You’re not going to believe who you’re looking at when you see me.

That’s a part of our craft that we so cherish, our transformations into our characters. I gained weight for mine, cut my hair, shaved off my eyebrows, but it’s part of the work. You want to become that character because you’re not going to be able to redo it or reshoot it, and it’s going into the future. Oh, a historical political story of love, I can’t wait for that one! Do you have a motto or philosophy that you live your life by?

Treat others the way that you will have them treat you. It’s got me a long way in life. You are kind to me, I’ll be kind to you because that’s what I want from you.

There you go! I guess most people attempt to live their life by how they treat someone because it comes back to you.

It’s called karma, and I believe in it. I have great karma around me because I give good karma. I’m just love, love, love.

And you know what, when you have great karma, great roles come to you, great people, great situations, because I do believe in the law of attraction.

Absolutely, me too.

You know, recently there has been a lot of press exposing the reality of treatment of women in Hollywood/entertainment. Tell me about your thoughts on women supporting women in the industry.

Well, I’ve always been a big supporter of women, even before I got into the industry. I just think overall that that needs to be the narrative. Not just in the industry, but in the world, because art imitates life. If we’re artists, then we need to be setting examples for the world. That’s how I was raised, that’s all I know.

My mother was one of five sisters, so I grew up watching sisterhood. I’m real tight with all of my cousins. We never snitched on each other. We all got in trouble together, and we all went down together. We learned that from our mothers, watching them and how close they are. So, of course I’m going to be like that with other women. I don’t understand hating another woman.

We go through so much as women. Why am I, another woman, going to add to the stresses that women already have? Why would I do that?

Yeah, why tear each other down competitively? We should be supporting each other as women.

Yeah, why would you want to be that selfish? God didn’t make you the only human. He certainly didn’t make you the only female and he certainly didn’t make you the only female actor. How can I learn if I don’t have my counterpart’s work to watch? You know what I mean? I’m so happy with what’s happening right now in the industry. All of my friends are working. All of them.

Yes, and working at various levels, not only as actors but, you know, writers, producers, directors, costume designers. It’s all across the board in so many ways, and each door that they open, 100 follow.

That’s true.

What advice would you give to young women coming to Hollywood?

Be very clear and know why you’re coming to Hollywood. Whatever that dream is, don’t let anyone deter you. Keep focused on your bigger picture, stay in your lane, do not compare yourself, put in the work, do unto others as you would have them do unto you, and don’t take no shit!

Absolutely! Don’t take no shit!

Jacket, Bodysuit, and Skirt Vintage Gianni Versace at My Haute Wardrobe, Tights by Wolford, Shoes by Christian Louboutin

Hair by Tym Wallace @ Master Mind Artist Management, Makeup by Ashunta Sheriff @ The Montgomery Group for Ashunta Sheriff Beauty, Manicure by Honey @ Exposure NY using Debrorah Lippman, BTS Video DP Francis Chen, Photography Assistants Diego Bendezu and Casanova Cabrera, Stylist Assistant Clair Tang, Production Assistant Benjamin Price, Special Thanks to The Plaza Hotel and Pamela Sharp of Sharp & Associates.

ISSA LISH BY NOBUYOSHI ARAKI

Photography by Nobuyoshi Araki | Styling by Shun Watanabe | Model Issa Lish @ Women Management

Known for his prolific exploration of Kinbaku-bi (緊縛美), “the beauty of tight binding”, subversive still-lifes, and controversial erotic imagery, iconic fine art photographer Nobuyoshi Araki teams up with top model Issa Lish in Tokyo, Japan for an invitation into his world.

Coat by Adam Selman, Bodysuit by Wolford, Boots by Christian Louboutin

Dress by Moschino, Shoes by Manolo Blahnik

Jacket (on the daybed) by Tom Ford, Bodysuit by Stella McCartney, Boots by Alexander Wang

Coat by Miu Miu, Chemise by La Perla

Tights by Tom Ford, Underwear by Wolford and Shoes by Gianvito Rossi

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Makeup by Ken Nakano, Hair by Koji Ichikawa using LAICALE, Manicure by Yuko at reAulii, Art Direction by Louis Liu, Editor Marc Sifuentes, Stylist Assistants: Leonard Arceo and Yohei Yamada, Makeup Assistant Sunao, Hair Assistant Hiromitsu Yahune.

IRIS VAN HERPEN

Iris Van Herpen, Paris, France, 2017

At the intersection of science, art, heritage craft, and fashion lies a singular point, the inimitable and pioneering couturier, Iris Van Herpen. Known for seamlessly blending lazer-cut fabrics, 3-D printing technology, cutting edge fabrics, and haute couture hand-work, Van Herpen’s work is a summation of the old world and the new.

Photography by Maya Fuhr @ The Canvas Agency | Interview by Benjamin Price
All clothing (not including models’ own) Iris Van Herpen Couture

Untitled I, Paris France, 2017

Amid the canals and stone-paved streets of Amsterdam lies a haute couture atelier led by a woman who is equal parts scientist, architect, artist, dancer, and designer. Iris Van Herpen sits at the helm, diving deep into different multi-disciplinary worlds to push fashion design further into the future. She is known as one of the most innovative and pioneering fashion designers in the world. Through her experimentation with different materials and collaborations, Van Herpen has created fantastic, awe-inspiring pieces that have defied previous ideas of what fashion can be.

At first glance, Van Herpen’s iconic designs look like sinuous creatures from mysterious planets, chemical reactions, waterfalls frozen in time, and skins of unknown species – but in reality they are the results of copious research, experimentation, and countless hours of handwork. The fusion of technology and heritage craft work is what makes Van Herpen’s designs so unique. From the initial research stage to the fashion show presentations, every iota of information is explored and disseminated to produce magical worlds that hold a mirror to our own reality of climate change, space travel, and the global stage.

Iris sat down with me, thousands of miles away in her studio, speaking through a computer screen – our conversation punctuated by the atelier cat running across the keyboard. The studio team draped, melted, 3D printed, and slice through materials for the upcoming couture collection in the background. Here is our exclusive interview with Iris Van Herpen and Iris Covet Book.

Guadalupe, Paris, France, 2017

What does a typical day look like in the Iris Van Herpen studios?

It really depends on what we are working on… right now we are working on the new collection. There is a lot of experimenting and creating with new materials. I’m a bit in-between my own space where I do design work, guide the process, and give feedback to the team, then going to meetings with different collaborators for certain projects. The atelier is filled with people with fashion backgrounds and people from other disciplines.

I was going to ask if you have sculptors, plaster specialists, or mold-makers in studio. Traditional fashion labels have a lot of draping and patternmaking, but I was wondering if there are physicists and artists, etc…

I work with people outside of the fashion world a lot such as architects, scientists, or other artists. It is sort of spontaneous. I won’t have them here all the time; it’s a day here and a day there with different disciplines, and sometimes I will go to their studio.

In the past, what has been one of your most fruitful collaborations?

One that is very special to me is my work with Philip Beesley who is an architect and artist from Toronto, and I’ve been working with him for four or five years now. Our process has become very intertwined… like a friendship. He’s always exploring with his team, and we share a lot of the process and experimentation together. If I find a new material, then I’ll send it to him and the other way around. So, it’s really like a collective intelligence there, which is a nice way of sharing. On a much more personal level, I would say that my work with choreographer Benjamin Millepied was special because I come from a dance background. I found huge inspiration in the work he does and the way he works; it was very special to see our worlds coming together.

Looking at your designs, your earlier work specifically, it appears like there is conflict between movement and form. How does your understanding and love of movement and the materiality that you’re using work together?

Well, dance is where I learned how to transform my own body, but also how to use the space around me. In the early years, I was questioning not only how to design for the body, but also discovering the space around it and how it can be transformed. That was like principal research, which I’m still doing, but it became more sentimental along the way – maybe because dance is still part of my work, but it has grown bigger with art, architecture, and even scientific collaboration. I have just expanded my focus, and therefore become more reliant on the materials I use to express the relationship between body and space.

Henry (Film Strip), Paris, France, 2017

Henry, Paris, France, 2017

Speaking of materiality, there’s a material library here in New York City that has every new material that you can think of. Every time a new one is created they send it to the library to be catalogued. Do you use spaces like that to gain inspiration or do you have custom materials that you make?

In the first years of the studio, I would find materials and then use them in my own way. By now, the process is a little bit more personal and elaborative. Mostly we don’t use the material as it is. We either develop a new material, sometimes as the result of a collaboration, or we use existing materials that we then transform into new hybrids. So, a big part of the design process actually depends on the material design. We start developing the techniques and materials and I start draping – where in the beginning I would just shop for the right material and then drape. It’s evolved over time.

I want to now switch gears and talk about the conceptual inspiration of the collection. When you begin researching, what sparks your interest? Is it something small or something more meta such as an intangible theory?

Well, it can be both actually. I’m thinking of [the collection] “Micro” where we explored microscopic structures that I found inspiring. Everything around us, like my own body and materials surrounding me on a micro level. Then there are collections like “Magnetic Motion” which was inspired by the conversations I had with scientists about really big subjects like parallel universes and the whole perception of life, which was a lot more philosophical. Sometimes it’s simply in the material that is next to me, and sometimes it’s a super inspiring theory that changes my way of looking at life.

Growing up, were you very interested in studying nature and science?

Yeah, absolutely. I grew up in a very small little village next to the water. So, nature was really part of my youth; it shaped me. My parents stimulated my interest in the arts, so nature and art together were an integral part of my growing up. I think it’s important to understand, or at least appreciate, how the world works around you and the importance of nature.

How do you see your design reacting to global warming and these heightened more chaotic political spheres?

Well, I think there are two paths in my work: one of them is within the material and technique, and the other is looking at the materials as part of the process of sustainability, but it’s not something I want to communicate. Sustainability has become a PR tool, and I personally find that it is happening too much. For me, it is a natural focus because we want to move forward and still live on this planet in 20 years. I don’t think it should be the central message because it can easily become everything you do, and as an artist or fashion designer, I think a specific environmental issue isn’t a long-term vision. It’s part of the process, but the message that I want to communicate is much bigger than that. I believe that in the long term fashion will change slowly. The materials we use and the way we use them will become better and more sustainable. I hope to help a little bit there, but it’s not something I can do on my own.

Untitled II, Paris France, 2017

Do you think that fashion – because it is one of the top polluting industries in the world – will change in the future? How do you hope consumer relations will change?

I think a very big step in this would be that the whole system becomes more personal again and less globalized. The problem is that most things are made in bulk, and more than half of everything that is being made is not being bought. I believe that the future will be technology that will make the process more personal again because I think through technology there is more direct communication possible between customer and designer. If we go to smaller productions again, we can reduce half of the waste because we’ll start making what people actually need rather than making twice as much. Hopefully we can begin utilizing the materials that can be 100% reused again like with 3-D printing. These are the two big steps that need to be made, and it will take awhile.

Well, speaking of technique and new technology I think that a lot of the interest in your early work was your use of techniques like laser cutting and 3D printing which were not as normalized as they are now. How do you foresee these two worlds of technological futurism and craft heritage melding?

I see the diversity of new techniques and new tools as equal to my hands, and I would not use one over the other: it’s a hybrid between them. For me craftsmanship is as valuable and as important as the newer techniques that I work with. I noticed that by using various techniques we can actually improve the others. Sometimes we want to work on a piece that we simply cannot make by hand, and a 3D printer can inspire the process where we are actually able to make it by hand. So, it’s really interesting how the knowledge from one goes into the other, and I think in the beginning the processes were quite separated. I would work on 3D printed garment, and I would work on a handcrafted garment, but now we have blended the processes. In one dress there can be 3D printing, laser cutting, hand molding, and stitching all in one and no one is able to see the differences anymore; I think that is very beautiful. In the end it is not about the technique behind it anymore, but about the freedom to combine different techniques. I’m able to go into the absolute maximum of intricacy if I’m not limited by one technique because every technique has its possibilities and its limitations.

I think that the future is – I don’t want to say cyborgs – but humans and computer technology coming together to create. You can see that in your fashion shows, which have been very viscerally engaging and surreal. Where does that inspiration come from? Does it come from your concepts? What does this theatrical element add to the show?

It’s really part of my process. I try to translate the energy of the experimentation that I feel from the work into the collection. When I started working on Aeriform I had my collaborators performance in mind, and really working with the empty gravitational aspect of their work, and the way of working that conflict together. So, I work to make those elements the base of designing the garments, while keeping the whole performance alive. Some shows are very minimal in their setting because the inspiration comes from something physical like an artist or work of art, and I want to show people my process and concept. Sometimes the collection comes from a completely different world, and I let the collection be itself.

Chen Chen, Paris France, 2017

You have worked with Bjork, Lady Gaga, Beyoncé, Tilda Swinton; do you feel the context of your work changes with the visibility and the popularity of these artists?

Well, I guess it connects to different people. They are very specific identities. They all created their own worlds, their own system, and fan bases. The body itself is my source of integration, and these people bringing it into their own world and their own vision creates a new perspective of my work. I think it’s very important because I don’t want my work to be this very controlled and linear thing.

In reference to the “worlds” that you design into, do you often build worlds in your mind when designing?

Not really to be honest. My interest is in the here-and-now because the inspirations that’s translated into my work comes from architecture, art, or things that I see around me. To me, the world we live in is actually so fascinating and it has so many sides. So, I want to look at different perspectives. Some people think I’m inspired by science fiction, but I think the world we live in is magical. It’s really more like zooming in and zooming out – focused on where I am at this point.

Magical and terrifying all at once.

Yeah, yeah, it has everything in it.

In the past you have referenced your work as “New Couture”, what does that mean to you?

It’s a place where innovation is possible. It’s a place where craftsmanship is possible. To me, it’s a place that has real humanity and personality in the work, and it has its place in the digital age and in the digital transformation that we are going through. To me, it’s really about finding the relationship between the world we come from and the world we’re going to. We have to learn how to use all of these great tools in combination with our humanity. I think those tools can be used to create art and beauty, not just functional technology to make our lives quicker and easier.

That’s beautiful. I think that we are at crossroads of so much negativity in politics and in nature, but the world also has a lot of positivity and beauty. What do you want to say to the world as a designer, as an artist?

I think fashion is not only a form of art, but also a place of innovation and progress. I think it is important that we we start collaborating with science and art because all of these disciplines have to change. If we talk about sustainability and moving forward, design is needed everywhere, and I don’t think we’re making progress if we keep on only focusing on one method of thinking. I think disciplines have to cross over to create a collective intelligence to direct the sustainability of design. We’re never going do it on our own. I think that one of the bigger messages behind my work is that the power of collaboration will affect future change.

Francesca, Paris, France, 2017

Makeup by Jay Kwan | Special Thanks to Fanny Moal @ Karla Otto Paris
For more information visit irisvanherpen.com

HALSTON SAGE

Right: Dress by Rochas, Left: Blouse by Anna Sui and Trousers by Sonia Rykiel

Halston Sage is the quintessential “girl next door”, and with a hit role in Seth McFarlane’s The Orville, Sage is set to take her career to a new frontier. Photographed on location at the luxury penthouse suite of the Viceroy Central Park, the rising starlet embodies Andy Warhol’s superstars as an indelible mix between talented ingenue and fresh-faced fashion darling.

Photography by Greg Swales | Styling by Angel Macias

Left: Blouse by Sonia Rykiel and Skirt by Anthony Vaccarello
Right: Blouse by Emilio Pucci

Left: Dress by Versace
Right: Sweater by Brandon Maxwell and Halston’s Own Jeans

Left: Dress by Barbara Gongini and Boots by Giuseppe Zanotti
Right: Jacket by Mulberry

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Makeup by Vincent Oquendo @ The Wall Group using Charlotte Tilbury, Hair by David von Cannon @ The Wall Group, Video Editor Lavoisier Clemente, Art Direction and Layout by Louis Liu, Editor Marc Sifuentes, Production by Benjamin Price

OISIN HUNT AUTUMN/WINTER ’18 LOOKBOOK

Oisín Hunt is an Irish fashion designer based in New York. During his education at the National University of Ireland he received a BSc in Business and Management, Oisin also worked under a prestigious tailer in Dublin City for 3 years. During that time, in 2013 Oisín started his first brand Dog Eat Dog (D.EA.D) which he used as an alias name to work and sell under.

Photography by Veselina Tsankova, Model Keenan Javon represented by State Management NY, Styled by Roberta Basilio, Grooming by Luzmyrna Crespo

T-shirt Helmut Lang, Pants Rag & Bone, Coat Oisín Hunt, Boots Calvin Klein , Jewelry stylist’s own

T-shirt Drifter, shirt Public School, Pants Oisín Hunt, Sunglasses vintage, Boots and socks Calvin Klein

Sweater ACNE studios, Pants Helmut Lang, Coat – Oisín Hunt, Sunglasses vintage, Boots Calvin Klein

Shirt 3.1 Phillip Lim, Coat Oisín Hunt, Hat Urban Outfitters, Belt John Varvatos, Boots Calvin Klein

Hoody Oisín Hunt

Shirt Helmut Lang, Pants Oisín Hunt, Sunglasses vintage, Boots Calvin Klein, Jewelry stylist’s own

Shirt Rag & Bone, Coat and Pants Oisín Hunt, Hat Urban Outfitters, Belt John Varvatos, Boots Calvin Klein

THE WEBSTER OPENS ITS NEWEST LOCATION IN NYC

With the store originating from the tropics of South Beach and having expanded to Houston, Costa Mesa, and Bal Harbour—it was only natural for The Webster to house their new location in the heart of New York City’s, Soho. Laure Heriard Dubreuil, founder of the luxury retailer, has mirrored the same opulent brand formula with a new ingredient—Webster Home. The six story building will handle pieces by Italian artist Gaetano Pesce, Pierre Frey fabrics that are exclusive to The Webster, and Nada Debs brass candy colored pebble table. Throughout the renovation of their new location The Webster befriended Maxi Cohen, photographer, video artist, and neighbor whose piece is now featured on the third floor.

The store is thoughtfully filled with French 50’s sconce lights and wall papers from the 20’s and 30’s and does the historical 1878, 12,000-square-foot building proud. Turn of the century light wells guide you onto a vintage loading dock entrance, and step out into a room that’s a fusion of new and retrograded pieces mirroring the original Webster store, which was redeveloped with the help and design of Christopher Osvai.

Filling the six floored location are thirty male designers and 68 women designers, including but not limited to Isa Arfen, Julien David, and jewelry by Anita Ko, The Webster combines high end clothing interwoven amongst art deco and one of a kind installations. Sculptures such as Aaron Young’s “Below the Underdog, 2010” is set amongst thoughtfully chosen menswear on the fourth floor.

For more information about the founder, Laure Heriard Dubreuil, check out her Iris Woman feature!

All photos by Andrew Rowat courtesy of Karla Otto Public Relations

The Webster flagship retail store located at 29 Greene Street in New York, NY opening in Nov 2017.

The Webster, located at 29 Greene Street, opened to the public Monday, November 6, 2017

Shop online here

THE LADY IS A VAMP

Although not one of the typical fashion hubs like New York, Milan, or Paris, Eastern European designers have been vying for attention and pushing the limit in fashion over the past decade. From Vetements to Gosha Rubchinskiy, Eastern Europe has become the leader in fashion and leaving us all wanting a piece of the former Eastern Bloc. We have cast a spotlight on the creatives of one country, Ukraine, and the designers who have managed to enter the global stage.

Photography by Mikhail Vovk @mikhailvovk | Styling by Nika Kovtsur @nikakovtsur | Beauty by Liudmila Agakhanova @agakhanova_liu | Model Anna Rudenko @rudenkoannaua (MAG @modelagentgroup)
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Vest by Alonova

Leather coat, pants and shoes by Alonova, Earrings by J.W. Anderson

Total look by Ostel

Blouse by Dafna May, Belt by Alonova, Trousers by Ostel, Earrings Stylist’s own

Trousers by Ostel, Jacket and Shoes by Dafna May

Suit by Nadia Yurkiv, Brooch Stylist’s own

Total look by Alonova

Suit by Nadia Yurkiv, Earrings Stylist’s own

Total look by Alonova

Style Assistant – Jacob Kotlik @jacobkotlik

HALEY BENNETT

Though press has angled her as a “girl on the rise” for years, Haley Bennett has proven herself as the screen siren she set out to become.

Photography by Diego Uchitel @Jones Management Styling by Sean Knight Interview by Dustin Mansyur
Top, Skirt and Belt by Michael Kors

It takes a special kind of girl from the Midwest to brave the shark-infested waters of Hollywood and emerge, not only unscathed, but also with one’s truest character still intact. In a world quick to tell you everything that you are not, Haley Bennett unapologetically beats her own drum to a tune that she is: grounded, earnest, and refreshingly honest. Her ability to play upon her vulnerabilities both on and off screen is what makes her most enticing. Having an “affinity for characters who have experienced loss” isn’t necessarily the kind of target P.R. strategy that most would choose for the path to becoming A-list. But then Bennett isn’t most.

For Haley’s convincing, intricate range of emotion as an actor, these are just the kind of roles that have given her career dimension and life. The whole of her experience has left her in touch with her humanity and its many complexities, in a way that makes her empathetic and aspirational. She is a different breed of protagonist, a new form of hero that captivates with a quiet strength – one that relies on the tools of good acting instead of flashy special effects. With exciting projects on the horizon, including the highlyanticipated directorial debut of Jason Hall’s Thank You For Your Service based on the Pulitzer-prize winning book by David Finkel, Bennett is positioned to beguile audiences yet again in what is certain to be a compelling story of love and war.

IRIS Covet Book recently had a chance to catch up with the winsome actress while on the set of her latest movie in production, Red Sea Diving Project. Bennett is perched inside of a production trailer on set, pandemonium ensues as the worker bees of wardrobe fawn over her, determining which pair of sunglasses best compliment her alabaster skin.

Dress by Jil Sander

How are you doing Haley? They told me you were going to be on set today for our interview.

I’m well thank you! I’m just in a hair and wardrobe test – we are dealing with wigs, sunglasses and all sorts of fun stuff!

I just want to start with a little bit about your background before we move into talking about your upcoming projects. Where did you grow up and what was your adolescence like?

I grew up near Akron, Ohio. Actually, my grandparents lived in a little town called Brimfield. It was delightfully Midwest, and quite outdoorsy as I still am. My dad was actually just visiting here in Africa, and we hiked to this incredible location called the Elephant’s Eye. It wasn’t far from what my life was like growing up. My dad would take me deer hunting, fishing, and four wheeling. I was climbing trees and swimming in creeks. It was all very idyllic.

Overalls by Palace Costume

It sounds picturesque. Growing up in the Midwest, what sparked your interest in acting? Was it something that you were drawn to early on?

I have a love for cinema. I grew up watching a lot of Time Warner classics – I was very fortunate to be able to view these incredible classics with my grandparents. I thought it was the closest thing to magic-making. I would think, ‘God, are they real people? Are these real people on real adventures?’ and when I learned that they weren’t real people I became fascinated with the process of filmmaking. Growing up in a small town, I didn’t know or understand what the path would be like in order to do that. But, of course, I wanted to be a part of that world of creating characters and storytelling – sorry, Dustin.

(We are interrupted as a wardrobe designer comes in with a mound of accessories for Haley to try on for screen tests amidst our interview. )

This is crazy! I feel like I’ve become a master juggler. This could be another hour so…

Don’t worry, we can make it work. Last year you had a banner year with a lot of lead roles. You were in The Magnificent Seven, Rules Don’t Apply and The Girl on the Train. I expect it’s only going to get crazier for you as the spotlight shines on you more with your upcoming projects.

This past year I have gotten a lot more exposure, but it has very little to do with me and everything to do with people’s perception I suppose. As an actor, you just continue to do the same work. You always hope that the story that you tell resonates and that the character you are portraying will strike a chord with the audiences. It is a lot of work, but you leave the work on the show and go home when the production is finished and you don’t think about it anymore. Naturally, the more projects you take on, the more constant your schedule is. One of the first things trying to be a master juggler is to do the best you can. It’s just like anything else.

Dress by Rag & Bone

I guess that’s your latest role right now, “master juggler”?

(Laughs) I guess that would be a natural progression. It’s been incredible to get more exposure because you do get more opportunities to come in, and to do films that you believe in. So even though I’m juggling my schedule, the opportunity to be a part of projects I am inspired by is very much welcome. That means that there is more freedom to do things that I set out to do.

Can you share with us a little about your character in the upcoming movie Thank You for Your Service? What is she like?

My character is Saskia, and the film is based on a true story about a battalion coming home from the Iraq War. David Finkel [who wrote The Good Soldier] wrote the [Pulitzer prize-winning] book upon which the film is based. He shadowed veterans who were returning home from Iraq and learned what it really meant for these soldiers to come home and to re-integrate themselves back into their civilian lives. He got to witness and be a part of their journey upon returning home. The film is a story of heartbreak, brotherhood, love and courage. These veterans like Adam Schumann and their families opened themselves up to David. Their stories became very important to us, and we all became very close as cast and crew while filming.

My dad and my grandfather are also veterans, so it was quite a personal journey working on this project. The film explores, not only what the soldiers experienced while in combat in Iraq, but also what their families were going through at home while they were away. When they came home, if they did come home, they were changed people and maybe in some cases unrecognizable to their loved ones. The film gives an intimate view of Saskia’s reality while her husband, Adam, was away – raising their two small children, one of which was under a year old when he returned; and then his journey discovering and coping with PTSD [Post Traumatic Stress Disorder].

Did you actually get to dialog and have conversations with the person whom your character is based upon so that you could better express and play her in the movie?

There was an enormous wealth of information in the book itself, which is very hard to read at times. It showed what Saskia went through. It’s a very complex story, but fortunately I had an opportunity to speak with Saskia prior to the film. Saskia and Adam inevitably separated and went on different paths. Since these are the lives of real people whom we are portraying, we wanted to be respectful and sensitive of their feelings. I wasn’t as close to Saskia as I would have liked, but the material and script that was adapted from the book was so rich.

Dress and Belt by Monse

Do you feel like you personally evolve by learning from the character while working on the project like this? Does it gives you a new perspective on things?

I believe we are constantly learning and evolving. Experiences merge with a person. Even if someone else has had a completely different experience than you have personally, they are still human. As humans, we all share the same spectrum of emotions. It’s innate to our humanity. I always say that I have an affinity for characters that have experienced loss. This film is no different because, in a way, Saskia has experienced an enormous loss. She loses her husband to PTSD and the aftermath of the war, and yet, the interesting part is that a lot of her friends lost their husbands to the war.

She is dealing with a complex and confusing aftermath from the war, and she has an enormous well of feelings of loss, grief, and loneliness that resulted from her husband’s return and diagnosis with PTSD. He isn’t the same man with whom she fell in love and had a full life with prior to the war. So I found her to be an incredibly strong woman to endure this lifestyle and her loss while still managing to be the light within the story.

Cape by Chloe

Wow, that sounds like it was a very emotional project to work on. What is the experience like exiting a production like this after having been in such an emotional role?

It can be an extremely intimate and intense experience depending on the film. This film in particular we had forged these incredible bonds that really allowed us access to each other’s emotions and feelings. So it was quite painful to say goodbye to this cast, crew, and staff. It’s also hard to say goodbye to the character that has made an impact on you the way that Saskia did for me. We really exposed ourselves on this film. Going back to your day-to-day life, you kind of have to put your armor back on. You go back out into the world and adjust, so it is a bittersweet process.

Jason Hall is making his directorial debut with this film. So, what was the experience like working with him?

This story is a very personal story – the veterans whom Jason shadowed have become very important to him and he really had a deep understanding of the psychology of what it was like to be in Iraq and then to come home. He spent a lot of time with them. Jason immersed himself in this world for the past five years of his life. Post Traumatic Stress Disorder affects those who have survived extremely traumatic events, and can affect anyone who has experienced trauma. As humans, we all will experience trauma to some degree within our lives.

I just think Jason had this incredible insight. He was able to personalize his own trauma and was very open about some of those issues. He had this way of making us really feel very connected, attached, vulnerable and empathetic to the material. He pushed us to explore emotional territory that wasn’t always comfortable. He was constantly pushing me, which I believe to be necessary. You need that push in order to lunge deeper into your work. Jason was the architect of that; working with him was a transformative experience in my life and work.

Slip Dress by Palace Costume

You’re on set of the production of Red Sea Diving Resort. Are you able to share with us any details about your role in this film, your character, and how you came on board the project?

Absolutely! I had spent a lot of time promoting Magnificent Seven and The Girl on the Train which was a completely new territory for me. After working on Magnificent Seven and Girl on the Train, I wanted to refocus on work, so I sought out a new project. I was reading a lot of material, but I wasn’t really connecting with any of what I was reading until I read the Red Sea Diving Resort. Then, it was all I could think about! Gideon Raff [creator and writer of Homeland] wrote the script and is directing the film. It is one of the most compelling, shocking, and evocative stories that I have ever read. It is based on a true story about a group of Mossad operatives in the 70’s with an incredible cast and crew. It’s amazing that the story hasn’t been told. But I’m glad Gideon uncovered this gem.

That’s very exciting to be involved with such stellar and exciting projects! Not only have you been busy with films, but fashion is keeping you busy as well. You are the new face of Chloé’s signature fragrance for their ten-year anniversary. How would you describe the Chloé woman and what about the brand speaks to you?

My collaboration with Chloé was a very organic one. Their brand philosophy is very aligned with my own personal aesthetic: effortless, easy, and elevated. It celebrates strong women who embrace their own femininity and freedom. The campaign film was directed by a woman named Stephanie DiGusto, who directed a film called The Dancer which is this incredibly poetic and lyrical film. I was really excited to work with a female director, and the theme of the campaign was freedom and female empowerment. Stephanie’s approach was very cinematic. We shot in South Africa in January, and the commercial itself looks like a film. It’s funny, when I was shooting the campaign, I had a feeling that I was going to be shooting my next film here. At that point, I didn’t know I was going to be doing Red Sea; but sure enough, here I am.

Coat by 3.1 Phillip Lim, Slip Dress by Palace Costume

Skirt and belt by Michael Kors

It all came full circle for you then. I am just guessing that in some ways you must feel like you are finally living the dream you had from childhood while growing up on those Time Warner classic movies. Is “the dream” constantly changing as it becomes a reality? What do you foresee in the future?

In my experience, I found that the more I tried to will something into existence, the more resistant it became. Now, I think that when you allow yourself to be the most open to all possibilities, that is when the most exciting things begin to happen. I live with a willingness to be surprised, to let life take me where it wants to. You can make your mind up about something, but in the end you really have very little say in things. I think it is important to live in the moment and to be open to life.

The sun is setting in South Africa. As I thank her for her time and juggling all the many distractions of being on set while managing to hold down an interview with charm and eloquence. She interjects just before we hang up, “The biggest distraction was that gorgeous sunset!”

Cardigan by No. 21, Vintage Slip and Boots from Palace Costume.

Dress and Belt by Alexander McQueen

Hair by Lona Vigi using Clairol at Starworks Artists, Makeup by Sabrina Bedrani using Dior, Nails by Morgan McGuire using Chanel, Prop styling by Ali Gallagher, Art Direction by Louis Liu, Editor Marc Sifuentes, Photographer’s 1st Assistant Jordan Jennings , 2nd Assistant Luc Richard Elle, Digital Tech Logan Bingham, Producer Monae Caviness @ Jones Management and XTheStudio, Stylist Assistant Jake Sammis.