Vanity Fair USA - 09.2026.pdf

《名利场》风格 2026

特邀呈现 VF年度 最佳着装 名单

“从此刻起，我宣布自己摆脱限制与虚构的界限。” 沃尔特·惠特曼

美国风格

主演：马克·雅可布斯

作者：何塞·克里亚莱斯-温祖埃塔 艺术家：安娜·韦扬特

路易威登

迪奥

普拉达

古驰

带着爱，始于 1837 年 蒂芙尼

Tiffany HardWear 系列，爱之力量的象征。

Knot by Tiffany 系列，爱之坚定纽带的象征。

Alhambra 系列，自 1968 年起颂扬好运

梵克雅宝

高级珠宝，始于 1906 年芳登广场

Alhambra 耳环

小巧尺寸，大气宣言

海马系列 Aqua Terra 30 毫米款尺寸紧凑，却能驾驭任何场合。这款精致的时计配备银色太阳射线纹表盘，饰有船壳形索引和 18K Moonshine™ 金刻面指针，搭载 Calibre 8750 机芯——这是欧米茄最小的同轴天文台机芯，通过了行业最高标准的认证。

马克思玛拉

马克思玛拉

减法装扮 感受自我 被铭记

菲拉格慕

汤姆·福特

《名利场》

栏目

176 普鲁斯特问卷

Vanities

51 ANOK YAI 这位超级名模席卷了纽约、米兰和巴黎。好莱坞会是她的下一个目标吗？作者：何塞·克里亚莱斯-温祖埃塔 摄影：PHILIP-DANIEL DUCASSE

54 颁奖季 威尼斯、特柳赖德、多伦多、纽约……哪个电影节最适合你？作者：REBECCA FORD

56 我们提名将其遗忘 是时候拔掉插头、切断连接了：不要再有可穿戴设备。作者：HILLARY BUSIS 插画：BEN GILES

58 电影 索菲亚·科波拉的时代杰作迎来 20 周年。通过《打造玛丽·安托瓦内特》走进幕后。作者：DANIELA TIJERINA

61 美食 McNally 餐饮帝国持续扩张。介绍乔治及其新店：Faux。作者：ELISE TAYLOR 摄影：IAN KENNETH BIRD

63 风格 你的 It girl 指南。作者：ELISE TAYLOR

66 过去与现在 你不能和我们坐在一起。时尚圈前排的大改造。作者：何塞·克里亚莱斯-温祖埃塔 插画：ANDRÉ CARRILHO

Columns

68 来自华盛顿的信 面对一个金碧辉煌的总统任期，什么定义了 MAGA 风格？作者：ROBIN GIVHAN 艺术家：AUSTIN CALL 74 媒体 时尚界是否害怕 Puck 的劳伦·舍曼？她认为是的。作者：AIDAN McLAUGHLIN 摄影：JONAS UNGER 78 个人历史 婚外情的公开报道仅仅是个人崩溃的外在标志。作者：RUBY RIPPEY 插画：MICHELLE THOMPSON 82 表演 无论是在舞台上还是屏幕上，乔丹·罗斯都希望你关注他。作者：MARISA MELTZER 摄影：MARK SELIGER

吉凡希

刘雯

巴黎

Juergen Teller

Chloé

MICHAEL KORS COLLECTION

MICHAEL KORS COLLECTION

瞩目之作 KARA YOUNG 已向 BROADWAY CARES 捐款 45 周年纪念系列

欢乐时光 1972 年，克劳德·拉兰与弗朗索瓦-克萨维尔·拉兰的 Bar aux Autruches 共同拍摄。

特别板块

90 最佳着装名单 从常青树和专业人士到原创者和未来之星，《名利场》为您呈现当今最具吸引力的着装者权威合集。

特写

112 风格合众国 在这个具有里程碑意义的年份里，对美国原型的反思与重构。 时尚编辑 TONNE GOODMAN 摄影 LUIS ALBERTO RODRIGUEZ

128 不可磨灭的马克 他曾被预言将成为下一位伟大的美国设计师。而马克·雅各布斯（Marc Jacobs）成就了远超于此的地位。四十二年后，他依然在颠覆人们的预期。 作者 何塞·克里亚莱斯-温祖埃塔（JOSÉ CRIALES-UNZUETA） 摄影 JEREMY LIEBMAN

“你可以拥有亿万富翁……你可以拥有模特，但你必须拥有变装皇后，必须拥有冲浪男孩、艺术家和作家。”

——艾米·萨科（AMY SACCO）谈 Bungalow 8, 第 158 页

特写

138 在我身边 在其最新著作《Grace: Now》的节选中，传奇的《Vogue》编辑向她的朋友、前《名利场》（VF）时尚总监迈克尔·罗伯茨（Michael Roberts）致敬。 作者 GRACE CODDINGTON

140 独树一帜的男人 海德·阿克曼（Haider Ackermann）如何在汤姆·福特（Tom Ford）品牌中征服时尚界。 作者 何塞·克里亚莱斯-温祖埃塔（JOSÉ CRIALES-UNZUETA） 摄影 SEBASTIÁN FAENA

142 哦啦啦！拉兰！河马、羊和鸟，天哪！走进创意精英们最喜爱的艺术家——拉兰夫妇（Les Lalanne）的拟兽世界。作者 MARISA MELTZER

154 心流状态 切梅娜·卡马利（Chemena Kamali）及其一群轻盈随性的缪斯们，在蔻依（Chloé）让波西米亚之梦焕发生机。 摄影 SEBASTIÁN FAENA

158 8 号球 你拿到了钥匙。进入 Bungalow 8, 这家定义了那个逝去 era. 的 2000 年代初期切尔西专属夜总会。作者 DEREK C. BLASBERG 摄影 TODD EBERLE

封面 安娜·韦扬特（Anna Weyant），马克·雅各布斯（Marc Jacobs），2026, 布面油画，19 $^{15}$ / ${16}$ 英寸 $\times$ 16 $^{1}$ / ${16}$ 英寸。 © Anna Weyant。由 Gagosian 提供。

BRUNELLO CUCINELLI

“……然后我们再次前行，去仰望星空”

但丁

名利场 (VANITY FAIR)

MARK GUIDUCCI 全球编辑总监

副编辑 CLAIRE HOWORTH 全球创意总监 JENNIFER PASTORE 全球内容战略副总裁 DANIEL KILE

执行编辑 MAGGIE COUGHLAN, ADRIENNE GREEN

特写编辑 HILLARY BUSIS 高级编辑 CAITLIN DICKSON, LINDSEY UNDERWOOD

全球人才负责人高级副总裁 ALISON WARD FRANK 特别项目总监 SARA MARKS 西海岸编辑 JOHN ROSS

华盛顿特派员 AIDAN McLAUGHLIN 时尚特派员 何塞·克里亚莱斯-温祖埃塔（JOSÉ CRIALES-UNZUETA）

艺术特派员 NATE FREEMAN 科技与财经特派员 JULIA BLACK 高级好莱坞特派员 REBECCA FORD

高级撰稿人 MAXWELL ADLER, TA-NEHISI COATES, MARISA MELTZER, ELISE TAYLOR

撰稿人 DAN ADLER, CLARA MOLOT, CHRIS MURPHY, ERIN VANDERHOOF, SAVANNAH WALSH, KASE WICKMAN

助理编辑 DANIELA TIJERINA 娱乐总监 CAITLIN BRODY

传播副总裁 NINA JOYCE 传播高级总监 CAROLINE BROOKS

特别项目经理 ARI BERGEN 全球编辑总监助理 ABIGAIL SYLVOR GREENBERG

特约特派员

DEREK C. BLASBERG, JOE HAGAN, MAUREEN ORTH, JAMES POGUE, JOY PRESS, MARK SEAL, GABRIEL SHERMAN

设计与摄影

全球视觉总监 ROXANNE DOUCET 高级设计总监 JUSTIN PATRICK LONG 视觉总监 CATE STURGESS

艺术总监 EMILY CRAWFORD 高级视觉编辑 NATALIE GIALLUCA, DONDRE STUETLEY

高级设计师 KHOA TRAN 视觉编辑 / 照片研究 ERIC MILES 视觉编辑 MADISON REID

时尚

时尚总监 NICOLE CHAPOTEAU

配饰总监 DAISY SHAW-ELLIS 男装总监 MILES POPE

高级时尚市场编辑 KIA D. GOOSBY 助理时尚编辑 GRACE CONNAUGHTON, CHARLIE JOHNSON

音频、社交与视频

全球音频副总裁 STEVEN VALENTINO 全球视频执行总监 ELLA RUFFEL 全球社交总监 CARLY WALSH

创意开发高级总监 CLAIRE BUSS 视频内容总监 NATASHA SOTO-ALBORS

高级视频制片人 CONOR FETTING-SMITH 高级音频制片人 MICHELE O'BRIEN

创意开发高级经理 HANNAH PAK 创意制片人 MADISON COFFEY, ADAM LANCE GARCIA

社交媒体经理 EMILY DENTINGER 协调制片人 EMEBEIT BEYENE 社交媒体协调员 WENGEL BEKELE GEMU

文案、研究、制作与受众

全球运营与受众执行总监 MARTINA NAVRATIL 高级法律顾问 TERENCE KEEGAN

制作总监 J JAMERSON 文案与研究高级总监 DAVID GENDELMAN 文案总监 MICHAEL CASEY

业务总监 GEOFF COLLINS 受众与数字运营总监 MATT CARLSTROM

在线文案与研究总监 RACHEL FREEMAN 法律事务编辑 SIMON BRENNAN

分析总监 NEELUM KHAN 制作经理 SUSAN M. RASCO, ROBERTO RODRÍGUEZ, HOLLIS YUNGBLIUT

研究经理 BRENDAN BARR, KELVIN C. BIAS, MICHAEL SACKS 文案经理 MICHAEL QUIÑONES

受众开发经理 BRANDON LEUNG 助理网页制片人 KENNEAL PATTERSON

助理时事通讯制片人 WISDOM IHEANYICHUKWU 助理编辑 S.P. NIX

线编辑 LILY LEACH, NATASHA O'NEILL, LEAH TANNEHILL

《名利场》工作室 (Vanity Fair Studios)

电影与电视负责人 HELEN ESTABROOK 开发与制作副总裁 SARAH AMOS

《名利场》全球 (Vanity Fair Global)

欧洲编辑总监及意大利编辑内容负责人 SIMONE MARCHETTI

法国编辑内容负责人 OLIVIER BOUCHARA 西班牙编辑内容负责人 ALBERTO MORENO

特约摄影师

ANNIE LEIBOVITZ

JONATHAN BECKER, ETHAN JAMES GREEN, NORMAN JEAN ROY, MARK SELIGER, TARYN SIMON

特约编辑

KURT ANDERSEN, LILI ANOLIK, CHRISTOPHER BOLLEN, MARIE BRENNER, DOUGLAS BRINKLEY, BRYAN BURROUGH,

LACHLAN CARTWRIGHT, ADAM CIRALSKY, SLOANE CROSLEY, JANINE DI GIOVANNI, LISA EISNER, DAVID FRIEND, PAUL GOLDBERGER,

ADAM LEITH GOLLNER, VANESSA GRIGORIADIS, CAROL BLUE HITCHENS, JACK HOLMES, MAY JEONG, SEBASTIAN JUNGER, SAM KASHNER, TOM KLUDT,

HILARY KNIGHT, WAYNE LAWSON, KIESE MAKEBA LAYMON, FRANKLIN LEONARD, MONICA LEWINSKY, WILLEM MARX, BETHANY McLEAN,

KATIE NICHOLL, LORRAINE NICHOLSON, JEN PALMIERI, ANNA PEELE, EVGENIA PERETZ, MAXIMILLIAN POTTER, JAMES REGINATO,

ROBERT RISKO, LISA ROBINSON, MARK ROZZO, NANCY JO SALES, ELISSA SCHAPPELL, JEFF SHARLET, MICHAEL SHNAYERSON,

CHRIS SMITH, KAREN VALBY, DIANE VON FURSTENBERG, ELIZABETH SALTZMAN WALKER, BASIL WALTER, JESMYN WARD, JULI WEINER

纪念

DOMINICK DUNNE, A.A. GILL, TIM HETHERINGTON, CHRISTOPHER HITCHENS, JOHN HOMANS, WILLIAM LANGEWIESCHE, HELMUT NEWTON, HERB RITTS, MICHAEL ROBERTS, GAIL SHEEHY, INGRID SISCHY, GORE VIDAL

RALPH LAUREN PINK PONY

加入我们，共同抗击癌症

“当我们深爱的人患上癌症时，我们所有人都会受到影响——丈夫、妻子、母亲和父亲、姐妹、兄弟以及朋友。这是我们在抗击癌症中所做出的努力。”

拉夫·劳伦（Ralph Lauren）

在全球范围内，Pink Pony 系列每件商品的销售价格中，至少有 25% 将捐赠给国际癌症慈善网络；在美国境内，收益将用于支持拉夫·劳伦企业基金会（The Ralph Lauren Corporate Foundation）的 Pink Pony 基金。

欲了解更多关于该基金会的信息，请访问 corporate.ralphlauren.com / foundation。

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就在昨天的十一年前，唐纳德·特朗普抵达德克萨斯州的边境城镇拉雷多，他第一次戴上了一顶棒球帽，

上面写着、恳求着、要求着：MAGA（MAKE AMERICA GREAT AGAIN）。那是白底海军蓝刺绣——后来才出现了更狂热的红色——帽檐像爷爷的高尔夫球帽一样宽且平。在 2015 年那个尚未堕落的年代，当我们的准独裁者大多还只是个笑话时，威廉斯堡的文青们开始把 MAGA 帽子当作玩笑戴在头上。这些帽子在特朗普的官方网站和特朗普大厦的商店里被抢购一空。《纽约时报》时尚版面的艾希莉·帕克（Ashley Parker）报道称：“特朗普的竞选帽成了讽刺性的夏季配饰。”

十年一年零一天后，这顶红帽子已成为我们分裂社会的红线：戴上它，你要么被拥抱，要么被排斥。没有中立的反应——即便是在西班牙。在马德里的胜利游行中，在世界杯决赛中打入夺冠关键球的巴塞罗那前锋费兰·托雷斯（Ferran Torres）戴了一顶红色的“让西班牙再次伟大”帽子，这引发了白宫的转发和《国家报》（El País）的嘲讽。如今，总统在椭圆形办公室的书房里分发 MAGA 帽子，他恶意地将那里称为“莫妮卡·刘易斯基房间”，并将其经营得像个主题公园礼品店。（接受加密货币和波音 747 飞机作为支付方式。）

没有什么比这更能生动地诠释那些前排常客所说的“时尚的力量”了。由此，我们——是的，我认为自己是一个持有证件的时尚人士——是指衣服不仅仅是遮盖身体，它们还揭示心智。它们可以表达个性，或者更常见地，表达集体性：我是这类人；我属于那个部落。而 MAGA 比任何人都更明白这一点。当然，比民主党人更明白。你可以称之为权力的时尚。

这就是《名利场》2026 年时尚特刊的开篇。普利策奖得主、评论家罗宾

马克·吉杜奇（MARK GUIDUCCI）

吉万（Givhan）在《激进时髦》（Radical Chic，第 68 页）中捕捉到了这个想法，她认为 MAGA 劫持了时尚，以传道其对美国僵化且复古的愿景，尤其是在她的家乡华盛顿特区。那里只有两种性别，但使用了大量的发胶。

在本期其他内容中，我曾在《Vogue》共事过的同事汤妮·古德曼（Tonne Goodman）和摄影师路易斯·阿尔伯托·罗德里格斯（Luis Alberto Rodriguez）对经典美国风格原型进行了现代诠释：嬉皮士、西装人士、社交名媛和牛仔，以及“纯净女孩”（clean girls）、“辣妹”（baddies）和“颜值至上者”（looksmaxxer）。我最喜欢的一组是“预科生风”（preppies），为此我们选用了九位《名利场》的作者和编辑。

如果缺少一份“最佳着装名单”，那么这期“风格特刊”怎么能算完整？我们的名单请不要与“国际最佳着装名单”混淆，后者是由埃莉诺·兰伯特创立、由我的前任格雷登·卡特掌舵的权威名录，其编辑包括艾米·贝尔、艾米·法恩·柯林斯（她出现在本组照片中，第 90 页）以及已故的伟大人物雷纳尔多·赫雷拉，尽管我们希望自己的名单能延续其最初的精神。本次评选由《名利场》的何塞·克里亚莱斯-温祖埃塔、林赛·安德伍德和德里克·C·布拉斯伯格共同完成，后者还贡献了一篇关于 Bungalow 8 极其精彩的口述历史，其标题更是色彩斑斓（《8号球》，第 158 页）。

何塞为本期杂志撰写了六篇以上的故事——当你读到这篇文章时，他最好已经在度假了——其中包括对马克·雅各布斯的深度报道，他是我们不走寻常路且无可争议的封面之星。马克自我重塑的频率比麦当娜还要高（而且或许更成功），而在 LVMH 宣布出售其公司后，这个夏天他开启了新的篇章。这是他在此之后首次接受深度采访，马克以一种幽默、坦率且坚韧的方式回答了何塞的所有问题，这让我们再次意识到为什么他依然是我们最有趣的美国设计师。我非常激动，因为马克和我最喜爱的艺术家之一安娜·韦扬特为我们的封面绘制了他的肖像。

在本期杂志付印前几周，我们讨论过《名利场》应该如何纪念美国建国 250 周年。我们当时已经计划拍摄模特阿诺克·亚伊，她是一位出生于埃及的南苏丹顶级模特，也是一名入籍美国公民。还有谁比她更适合代表美国精神？由海地摄影师菲利普-丹尼尔·杜卡斯拍摄的星条旗意象照片成为了我们的 7 月 4 日数字封面，而现在，应大众要求，我们将其推出了特别印刷版。你会看到阿诺克身上只披着一面美国国旗。对此我表示由衷的敬佩。

塞琳娜·福雷斯特 罗斯科礼拜堂，2026 年 5 月，德克萨斯州休斯顿

菲利普-丹尼尔·杜卡斯 (PHILIP-DANIEL DUCASSE) “美国顶级模特”，第 51 页

“与安诺克合作总是感觉很自然，”杜卡斯说道。他是一位常驻布鲁克林的摄影师，在海地太子港长大。“她是我一直钦佩的人，不仅因为她是该领域最顶尖的人之一，还因为她非常真实，”他说。“对于摄影师来说，这就是生命中值得期待的时刻：与老友重逢，并创造出某种感觉毫不费力的作品。”

路易斯·阿尔伯托·罗德里格斯 (LUIS ALBERTO RODRIGUEZ)

“风格合众国”，第 112 页

在投身视觉艺术之前，摄影师罗德里格斯曾接受舞蹈训练，毕业于拉瓜迪亚高中，获得茱莉亚学院的艺术学士学位（BFA），并在全球范围内演出。现在，他继续在作品中研究肢体动作，经常以雕塑感和抽象的方式运用拍摄对象的身体。他是专著《泥之民》（People of the Mud，2020）和《O》（2023）的作者。

罗宾·吉万 (ROBIN GIVHAN) “激进时髦”，第 68 页

在本期中，普利策奖得主、前《华盛顿邮报》资深特约评论员吉万试图定义“MAGA风格”。“我想思考这些审美姿态在性别、种族，尤其是权力方面传达了什么，”她说。“这种造型没有任何特别新颖之处，但也不完全是复古。我想了解这种个人呈现方式源自何处，以及它试图将我们带向何方。”

德里克·C·布拉斯伯格 (DEREK C. BLASBERG) “8号球”，第 158 页

“艾米·萨科不仅仅是举办派对——她创造了一个世界，”《名利场》特约记者布拉斯伯格说道，他编纂了关于Bungalow 8的口述历史。“与女王本人以及她的众多随从一起重温那个时代，感觉非常超现实。我挖掘得越深，就越意识到我不仅仅是在报道一家俱乐部；我是在重新审视一个塑造了一代人、且至今仍让人感到心碎般亲近的纽约版本。”

塞巴斯蒂安·法埃纳 (SEBASTIÁN FAENA) “独特之男”，第 140 页；“心流状态”，第 154 页

对于来自布宜诺斯艾利斯的电影制作人和摄影师法埃纳来说，拍摄海德·阿克曼（Haider Ackermann）、切梅娜·卡马利（Chemena Kamali）以及他们分别在汤姆·福特（Tom Ford）和珂loé（Chloé）的缪斯，就像见到了“老朋友”。“我出现并真实地记录了那一刻，”法埃纳说。“海德和切梅娜让这一切变得非常简单。”

希拉里·布西斯 (HILLARY BUSIS) 《我们提名遗忘》，第 56 页

“我热爱抱怨，而且能通过写作获得报酬来抱怨，感觉就像在做某种‘侥幸之举’，”布西斯说道，她是《名利场》的特写编辑，也是《我们提名遗忘》（We Nominate for Oblivion）专栏的撰稿人。在本期中，她提出了反对可穿戴技术的论点——从苹果手表到Meta眼镜。此前，她曾提名“星二代”（nepo baby）、“治疗师术语”（therapistspeak）、“水星逆行”以及“邮轮旅行”进入遗忘名单。

何塞·克里亚莱斯-温祖埃塔 (JOSÉ CRIALES-UNZUETA) “不可磨灭的马克”，第 128 页

从撰写无可比拟的马克·雅各布斯的人物特写、采访超模安诺克·亚伊，到编纂当今最引人注目的着装者名单，以及合作完成一个关于美国风格的时尚作品集，《名利场》时尚记者克里亚莱斯-温祖埃塔在这一期“风格特刊”中留下了他的印记。“当我来到《名利场》时，时尚圈的人问我具体计划或希望在杂志上做些什么。就是这些。”

汤妮·古德曼 “风格合众国”，第 112 页

在本期中，资深《Vogue》编辑古德曼与路易斯·阿尔伯托·罗德里格斯合作，旨在捕捉全美各地不同的典型形象。她表示：“这次拍摄的乐趣在于与所有参与其中的角色共同协作，以展现美国风格是多么独特：无畏的个性以及毫不掩饰的表达自由。它赞美了我们的多样性，而这正是我们最大的优势。”

[⚠ 低质量翻译，建议复核] # 与众不同

THE REST

超越平凡之旅——在这里，地平线即是故乡，每一间套房都是私人寓所，每一刻都是低调优雅的杰作。这是海上温暖且个性化的奢华服务，旨在为您开启一场与之相称的旅程。

今年夏天早些时候，随着气温升高以及纽约尼克斯队赢得 NBA 总决赛的机会增加，阿诺克·亚伊（Anok Yai）开始祈祷。在第四场比赛的观赛派对上，她从桌子上拿起了一串念珠——它当时被卡在空啤酒杯之间——并号召其他客人们将能量注入其中。她已经很久没有祈祷念珠了，但这次尝试奏效了。

亚伊是一位超级模特，她的父母是曾在美国寻求避难的南苏丹难民——作为一名移民，她成为了其一代人的标志性面孔。如果你见过她，你可能知道她热爱绘画；你一定会发现，她比她那锐利的五官和霸气的台步所暗示的要更幽默、更温柔。

美国 下一任 顶级模特

阿诺克·亚伊是一位足以与琳达·伊万格丽斯塔（Linda Evangelista）和娜奥米·坎贝尔（Naomi Campbell）相媲美的天才。她向何塞·克里亚莱斯-温祖埃塔（JOSÉ CRIALES-UNZUETA）讲述了如何颠覆预期，以及她希望在荧幕上开启的新篇章。

但你可能不知道她会祈祷，或者她是在天主教环境下长大的。显然，她是多面性的。

亚伊既是一个原创者，也是一名继承前辈超级模特传统的明星。在娜奥米·坎贝尔于 1997 年成为首位为普拉达（Prada）开场秀的黑人模特之后，她是第二位达成此成就的黑人模特。像琳达·伊万格丽斯塔一样，她以其变色龙般的形象著称，能够根据当前的发型或拍摄任务变换风格。秉承克里斯蒂·特灵顿（Christy Turlington）的精神，她勤奋且渴望建立一个超越其外在形象的传奇。

28 岁的亚伊在《Vogue》杂志的全球各版本封面上露面超过 12 次。今年，她被评为《时代》杂志 100 位最具影响力人物之一。亚伊最初被发掘是在 2017 年，当时她 19 岁，一张她在霍华德大学返校周的照片在网上走红。今年 5 月，当她 2026 年 Met Gala 的造型照片传到社交媒体上时，她再次收获了网络名声。

巴黎世家（Balenciaga）创意总监皮埃尔保罗·皮乔利（Pierpaolo Piccioli）将她打扮成一位“黑圣母”，身着一件宽大的黑色高级定制礼服，面部镀金并点缀着假眼泪。亚伊在红毯上完美演绎了这个角色，其表现力与她在 T 台上塑造不同角色时一样多样：在香奈儿（Chanel）面前她显得腼腆，在范思哲（Versace）面前她像个时尚女巨头，在圣罗兰（Saint Laurent）面前她则显得贪婪。去年 10 月，在 Vogue World: Hollywood 活动中，她化身为电影《剪刀手爱德华》（Edward Scissorhands）中的同名主角。

现在是 6 月中旬，为了庆祝美国 250 岁生日，亚伊拥抱着一面美国国旗。阿诺克·亚伊是一位非洲超级模特。阿诺克·亚伊是一位美国超级模特。在这个自由之地和勇敢者的故乡，这两个说法都成立。

当我们请她与美国国旗合影时，她感到既忐忑又荣幸。但一旦她将那面星条旗抱在怀中，她的神情便发生了转变。亚伊将国旗披在身上，紧紧地抓着。她向制作团队要了一面镜子来微调姿势，这是她在与著名时尚摄影师史蒂文·迈泽尔（Steven Meisel）第一次拍摄时学到的小技巧。“我总是会说我首先是非洲人，”在照片拍摄前几分钟，她告诉我，“但我在这里长大，所以我也是美国人。”

和 Yai 一样，我也是一名移民；但与她不同的是，我并非在美国长大。不过，我们共同拥有美国经历中不可磨灭的一部分：这个国家为我们提供了成长和成就自我的空间与机会。我们这一代人与“美国特质”及其象征符号之间存在着一种充满争议的关系，而这些符号已被熔炉中的一小部分群体所收编。这是一个移民之邦，而我们都是美国人。

孩提时代的 Yai 对科学和书籍痴迷。“从幼儿园到五年级，我父亲会强迫我读字典，然后考我学到的单词，”她说，“如果我答对了，就能吃到麦当劳，所以我什么都读。显然我当时只想要麦当劳，但这对我后来形成职业操守大有帮助。”

她将年幼的自己描述为一个书呆子——但是个时髦的书呆子。Yai 说，在高中时期，“我的打扮很疯狂。”她曾留过粉色的莫霍克发型，这对于模特界最具多变特质的人物之一来说似乎很合适——她今天能以光头亮相，明天换上 30 英寸的中分长发，后天剪成精灵短发，到了下午又变成短波波头。“我一直痴迷于时尚，”她说，“但在学习期间，我从未真正考虑过尝试进入模特行业。”她无法承担冒险地搬到纽约的代价，“而且当时我目标极其单一，”她说，“我想成为一名医生。”

“他们会说：‘噢，你的英语说得真好！’而我会说：‘宝贝，我来自新罕布什尔州！’”

她散发出约翰尼·德普的神韵；在那里，她还告诉我，她希望有一天能成为一名演员。在 Met Gala 上见过她之后，我相信这一点。

Yai 的造型产生了如此巨大的影响力，以至于她众多狂热粉丝中的一人将她在 Met Gala 上的面孔纹在了前臂上。而且，这并不是 Yai 第一次遇到这种情况；她至少还知道另一起。

如果有人认为超模转型为跨界明星的时代已经结束——或者认为模特如果没有名人家长的助力就无法成名—— 的出现证明他们错了。她不是哈迪德（Hadid）也不是詹娜（Jenner）；如果非要类比，她更像是在追随卡莉·克洛斯（Karlie Kloss）的脚步，后者将时尚界的名气转化为主流事业。名声并非 所预料之中的，也不是她百分之百感到自在的事情。但她正在适应。“我对这些人愿意在自己身上给我留出多少‘地产’感到震惊，”她笑着说，“第一个纹身让我觉得很奇怪。但现在我觉得这太棒了。”

这个国家并不总是代表像 或我这样的人——或者那些特权较少、因此机会也较少的人。一个显而易见地不希望我们留在这里的角落。但在 的故事中，以及在我今天写下这段文字的个人经历中，我看到了我们两人都被承诺过的梦想的实现。

“在成长过程中，我对自己的肤色非常自卑，” 在谈到父母将她和兄弟姐妹从出生地埃及迁至新罕布什尔州后所经历的种族主义时说道。当时， 大约四岁。“我……我不会说我被欺负了，”她说，“因为我会反击。但我从小就被告知我的皮肤并不美丽。”她说，当这样一个谎言变成不断的重复时，“你就会开始相信它。”

年轻时，她从未将自己视为非洲人以外的任何身份——她当时只是个孩子，而且还是个被排挤的孩子。但她已经学会了热爱她的血统以及她的移居地。“做这个故事，以及拍摄这张带有美国国旗的封面，” 说，“这恰恰代表了美国是

她没有。2017 年，在普利茅斯州立大学（Plymouth State University）就读期间， 心血来潮地参加了霍华德大学的返校日。

“那个周末我甚至不想去，” 说。但她的朋友想去。那里有快乐时光的承诺，“还有帅哥。”随后，她的整个世界改变了。

“我记得照片开始疯传的时候。我的手机快被炸掉了，我首先想到的是，天呐，我成了 Twitter 上的表情包，”她在谈到自己的成名时刻时说道。“我太害怕了，不敢打开手机。”在接下来的几个月里，她试图留在大学，“但这几乎变得不可能，”她说；当普拉达邀请你去巴黎时，很难再去参加实验室课程。“我当时就想，‘好吧，我得抓住这个机会’，”她说，“我的父母非常生气。”

在被发掘仅四个月后， 走上了她的首场 T 台秀。近十年后，她已成为同代顶尖模特之一，与她最亲密的朋友帕洛玛·埃尔塞瑟（Paloma Elsesser）和亚历克斯·康萨尼（Alex Consani）并肩而立。

“阿诺克（Anok）是一颗巨星，不仅因为她是全场最美的人，还因为她知道如何掌控全场，”康萨尼说。“阿诺克是独一无二的，”皮乔利（Piccioli）表示赞同。“她不仅是一个完全的专业人士，一个非常聪明的女性，而且她总能带来更多东西——她的人性光辉。”对于领导菲拉格慕的马克西米利安·戴维斯（Maximilian Davis）来说， 是“我们时代最伟大的模特之一”。

以与碧昂丝（Beyoncé）和蕾哈娜（Rihanna）等巨星合作而闻名的发型师贾瓦拉·沃肖普（Jawara Wauchope）则给予了更高的评价。“阿诺克·亚伊（Anok ）是这一代最具定义性的超模，”他说。“她对他人的信任、她的韧性和她的投入提醒着我们，真正的超模并非由她们创造的形象定义，而是由她们给周围人留下的影响定义。她就是真理本身。”

当 Yai 初入行时，她记得时尚界的一些人——造型师、设计师、妆发团队——对她说话速度很慢，仿佛她很难理解他们一样。“我显然是南苏丹人。他们假设我会有很重的非洲口音，”她说，“但当我开口说话时，我的口音听起来非常有新罕布什尔州特色，他们就惊呆了，心想‘等等，怎么回事？’”想到这段回忆，她笑了起来。“他们说：‘噢，你的英语说得真好！’而我的反应是：‘宝贝，我来自新罕布什尔州！’”

Yai 得到了很多赞誉，不仅是因为她的外貌和气质，还因为她对身体的掌控力。但她那俏皮的幽默感却没得到足够的认可——尽管为了这篇人物报道，她让我保证要淡化她有多幽默。（她说：“有些东西我们要留给自己。”）她热爱双关语，如果你开玩笑地给她唱几句迪士尼情歌，她会兴致勃勃地接唱下一段。甚至许多时尚圈内部人士都不知道她有多聪明：毕竟，这个女人曾经学习过生物化学。

曾经引导她走向医学的那种专注和野心，现在将她推向了一个新目标。随着 在时尚界的地位提升，她迅速获得了一批狂热的粉丝。有些人是通过那张爆火的照片发现她的；另一些人则被她的台步所吸引，那种催眠般的摇曳感通常只出现在早期的超级名模身上，比如坎贝尔和亚斯敏·高里（Yasmeen Ghauri）。她说，自己在职业规划上采取了战略性方法。她会花一个季度尽可能多地走秀，然后在下一个季度只选择极少数的秀。她成为了“模特的模特”，就像 30 年前的埃万格丽斯塔（Evangelista）那样。

每一颗心跳都真实 出生于埃及的南苏丹裔父母膝下，并在新英格兰地区长大， 安诺克·亚伊（Anok ）是一个纯正的美国原创。 前页：服装由迪奥（Dior）提供； 耳环由蒂芙尼（Tiffany & Co.）提供。 时尚编辑：妮可·查波托（Nicole Chapoteau）。

当她同龄的人屈从于网络名声或 TikTok 的变幻莫测时， 通过在自己设定的目标上做到极致，让整个行业为之倾倒。

回忆起她不得不向父母解释她的模特职业前景时的情景。“我说：‘妈，我接到了普拉达（Prada）的活儿。’她问：‘普拉达是什么？’” 说。她年幼时家境并不富裕；尽管她对时尚文化感兴趣，但“奢侈品”并不在他们日常的词汇表中。“我爸爸说：‘你本来应该是当医生的，现在怎么回事？’”她说，“有一段时间他们还是不理解。直到有一天我爸爸开车时，看到了我的第一块普拉达广告牌，他惊呼：‘我的天，那是我女儿吗？’”现在，她的父母成了她最大的支持者，还陪她在最近的《英国版 Vogue》封面故事中合影。

尽管 现在处于事业巅峰，但就在一年前，她似乎可能再也无法工作了。2025 年， 得知自己患有一种先天性缺陷。她的心脏向肺部泵入了过多的血液，这正在摧毁她的左肺。她接受了手术，在出现并发症后，她再次接受了手术。她的康复过程漫长且艰辛。她必须重新学习行走，无论是作为一个人，还是作为一名模特。

“我意识到了生命本身的脆弱，” 说。她艰难地重新站了起来，于 3 月在巴黎的香奈儿（Chanel） T 台上回归工作并重返公众视野。随后是 Met Gala，接着是 5 月的《Vogue》封面，以及 7 月的《名利场》（Vanity Fair）封面，同月紧接着是高级定制时装秀。

4 月， 在《穿普拉达的女魔头 2》中客串出演。我听到一些业内传闻说她正在洽谈，或者至少在候选名单中—。

……在洽谈，或者至少是在争取电影中的一个角色。当被问到此事时，她笑着说：“无可奉告。”当我进一步追问并重新组织问题时，她终于松口了。“我演了一个客串角色，”她说，“但我本想演一个正式角色。”她希望能扮演《Runway》杂志的助手之一。“但我不能透露所有关于发生之事的秘密。”她再次笑了起来。

Yai透露，过去几年她一直在秘密地参加表演课程。转向大银幕或小荧幕将是一个雄心勃勃的目标，也是一次极具挑战性的转型，此前很少有模特能成功实现。（凯亚·格伯目前正处于这个过程中；而她的母亲辛迪·克劳福德则从未真正达成。）然而，Yai此前已经多次让自己和周围的人感到惊喜。凭借她标志性的专注——以及那串玫瑰念珠上的小小祈祷——谁能断定她不能将其变为现实？VF

颁奖季

奔赴电影节！

每年，那些渴望在颁奖季脱颖而出的人们，都会在意大利的漂浮之城、壮丽的落基山脉、纽约市繁忙的上西区，以及那个你认识的每个人都威胁说要搬过去的加拿大城市里，迎来他们的盛大首秀。如果你只能参加一个电影节——或者任何一个——哪一个会是你的“金发姑娘”式完美之选？丽贝卡·福特（REBECCA FORD）为你揭晓答案。

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我们提名给遗忘

可穿戴技术

不再有嘀嘀、嘟嘟或嗡嗡声。希拉里·布西斯（HILLARY BUSIS）选择退出。

从前，书呆子们并不知道自己穿得像个书呆子，而这反而让他们的装扮显得有点酷。但在可穿戴技术中，根本不可能看起来很酷。即便

是 AirPods。（尤其是 AirPods？）

你问为什么？因为这一切都太丑了！也许这无需多言，但还是得说出来：从 Fitbit 和 Apple Watch，到 Oura 戒指，再到那个名为 Oakley Meta Vanguard 的怪物——那种看起来像贾里德·莱托（Jared Leto）在《创：战纪》续集里穿过的弃物般的包裹式眼镜——无论其设计多么精简，体积多么小巧，可穿戴设备统一地显得笨重且不优雅。它们是 21 世纪版的护笔袋和背带裤，却毫无魅力可言。想象一下马克·扎克伯格戴着一副粗框 Meta 眼镜，或者蒂姆·库克在——没错，就是《名利场》的封面上——戴着 Apple Vision Pro（它是《爱国者法案》与一副滑雪护目镜的私生子）。只要想象这个画面，你就忍不住想把他们两个都塞进储物柜里。

诚然，时尚史上充斥着欠考虑的配饰：护腿袜、卡车司机帽、Livestrong 橡胶手环。但戴上可穿戴设备的行为本身——心甘情愿地用一个微型计算机密报员来装饰自己——就是一种投降。默认情况下，这些设备不仅将佩戴者标记为极客，还标记为用力过猛的攀登者和利己主义者。可穿戴技术是给那些认为没有什么比自己身体的琐碎细节更迷人的人准备的，是那些除非散步能被“计入”某种指标，否则就无法在社区里简单走走的人——除非这能让他们在与自己进行的隐形竞争中获得积分。

公平地说，这并不完全是他们的错。在很多情况下，是机器人尾巴在摇活狗——通过诱骗我们去关注那些晦涩的指标，然后将提升这些指标的过程游戏化，从而操纵我们。两年前，我甚至从未听说过 $\text{VO}_{2}$ max（最大摄氧量）。但在一次深夜深入研究我的健康应用后，我发现我有一个这样的指标；而且在我不知情的情况下，我的手表已经追踪它好几年了；而且——最可怕的是——我的指标仅仅是高于平均水平而非优秀。于是，优化这个重要性存疑的指标成了我的个人执念。

我是一个极客，一个用力过猛的人，也是一个利己主义者。我很想把我的手表扔进东河。但我不能，因为我已经习惯了知道昨天爬了多少层虚拟楼梯（超级多！），以及昨晚睡得有多深（并不深！）。手表没有把我变成怪物，但它增强了我原有的怪物特质：对认可的渴望，以及需要被不断打分和评估的需求。

情况本可以更糟。我可能会对 Google 和 Meta 制造的变态眼镜，或者即将由 Apple 和 Snap 推出的产品上瘾。据传，像这样的可穿戴计算机对于视障人士来说是福音。这对他们来说是好事。但除此之外，没有人可能有令人信服的理由去戴 Meta 眼镜。这些设备在美学上极其丑陋，在道德上也令人质疑；至少当那些人渣试图用智能手机偷拍陌生人时，人们有可能在现场抓住这些窥淫癖者。

计算机眼镜抹杀了这种可能性。它们是丹尼尔·拉弗里（Daniel Lavery）对《黑镜》那段永恒抨击的化身：“如果手机变得‘太多’了会怎样？”

我们已经生活在一个由黑色镜面组成的迷宫之中。屏幕入侵了我们的出租车、广告牌、孩子的玩具，甚至是我们家里的冰箱。从洗衣机、灯泡到窗帘和雨伞，每一样东西都有一个“智能”版本。我的烤肉架甚至有个应用程序。技术像一层由 0 和 1 组成的无形浓雾，悄然潜入日常生活的每一个方面。在这一切之上，你竟然还需要一条内置微型计算机、能告诉你是否吃太多的皮带？这难道不正是普通皮带的作用吗？

够了！如果这就是所谓的智能生活，我宁愿选择愚钝。VF

家族风格

麦克纳利（McNally）这个姓氏曾为纽约带来了一些史上最受欢迎的餐厅。而 23 岁的乔治·麦克纳利（George McNally）能否凭借他的新店 Faux 重现那样的魔力？

“感觉就像——一点也不酷，”乔治·麦克纳利说道。我们现在在翠贝卡（Tribeca）的一家大通银行（Chase Bank）里。这里不是那个有着鹅卵石街道、2000万美元 顶层公寓以及售卖 $500 日本原牛牛仔裤精品店的区域，而是西百老汇（West Broadway）以东、逐渐融入金融区粗粝氛围的地带，这里的摩天大楼如此之高，街道如此之窄，以至于阳光几乎无法照射进来。我们站在散发着来苏尔（Lysol）气味的荧光灯下，靠近一名身在有机玻璃挡板后的出纳员。没有人会将这里描述为“酷”。

这位 23 岁的年轻人现在正极度关注“酷”这件事，因为就在几个街区之外，他正在打造一家名为 Faux 的餐厅。为什么叫 Faux？“我不知道，”他一边说着，一边抽起电子烟，“在装修期间，建筑工程中有很多不同的元素都叫‘faux’（仿制）这个，‘faux’那个……”

他有一个愿景：一家全天候餐厅，提供带有南法风格的食物，就像你在圣特罗佩（Saint-Tropez）一个完美日子里能吃到那样，但不过分矫揉造作，也不太贵。而且它会营业到很晚。“在这座号称不眠之城的任何地方，过了 11 点或午夜之后都很难找到食物，”他感叹道。在楼下，他正在建造一个可以让客人们流连忘返的休息室。目前，这个愿景仍处于建设之中。这就是为什么我们现在在银行。想要创造某种“酷”的东西，必须经历一个并不酷的过程：办理分区许可、遵守建筑规范以及提取现金。“我现在必须在这些事情上表现得非常无趣，”他说着，将一沓钞票塞进钱包。他的手臂上肌肉紧绷，露出了几处黑色纹身，其中一个是一个鸡尾酒杯。

开餐厅对他来说可能显得太年轻，但大多数同龄人并不是基思·麦克纳利（Keith McNally）的儿子——基思创办了 Balthazar 和 Minetta Tavern（仅举两例）；他们也不是布莱恩·麦克纳利（Brian McNally）的侄子——布莱恩是基思的哥哥，创办了 Indochine。麦克纳利家族在纽约拥有深厚的传奇色彩：尽管他们出生并成长在英国，但他们开创的正是那些定义并启发了这座城市市中心文化的饮食场所。杰·麦金尼（Jay McInerney）在《大城市，小人物》（Bright Lights, Big City）中对 The Odeon 赞美有加。在 20 世纪 90 年代，《欲望都市》（Sex and the City）曾专门用一集讲述萨曼莎和凯莉试图进入一家明显是以 Balthazar 为原型的餐厅。乔治能否掌控 Z 世代的夜晚？

如果在演艺或模特界，这种“某人之子”的身份会引发关于“资源咖”（nepo baby）的指责，但餐饮业的利润空间太薄，以至于似乎没人关心。正如安东尼·波登（Anthony Bourdain）在《厨房机密》（Kitchen Confidential）中所写：“从未在周五或周六晚上休息，总是节假日工作，在世界其他地方的人刚刚下班时最忙，这有时会形成一种奇特的价值观。”

这种价值观是麦克纳利唯一拥有过的，首先是在孩童时期出入父亲餐厅的红色皮革卡座，随后是在青少年时期在伦敦的一家酒吧工作。之后，他几乎尝试了前厅和后厨的所有岗位：清理员、洗碗工、服务员、调酒师。年长的麦克纳利在看到 Faux 的潜在场地时并不认可。但乔治还是签了租约。他毫无顾虑。 ——艾丽丝·泰勒（ELISE TAYLOR）

摄影师 伊恩·肯尼斯·伯德（IAN KENNETH BIRD）

外交使节团

随着设计师们继续在各大品牌之间“玩抢椅子游戏”——乔纳森·安德森从罗意威跳槽至迪奥，亚历山德罗·米凯莱从古驰加盟华伦天奴，以此类推——他们忠实的品牌大使们也随之而动。至少大部分人是这样。例如：妮可·基德曼在与巴黎世家的德姆纳合作一段时间后，加入了设计师马修·布拉齐在香奈儿的阵营。而德姆纳经久不衰的缪斯金·卡戴珊？她则在品牌更迭之间始终保持忠诚。由于每个季度的变动都如此之快，人们很难实时跟进，因此让我们来看看目前的局势。

● 现任大使 ● 前任大使

VANITY FAIR

《名利场》的“Little Gold Men”播客将带您走进电影和电视的世界，从圣丹斯电影节的起立鼓掌到奥斯卡金像奖的最佳影片奖。通过邀请明星、创作者和评论家的特别嘉宾出演，我们的专家主持人们将以只有《名利场》才能呈现的方式，深入探讨好莱坞的权力、声望与魅力。

在任何您获取播客的平台收听

立即关注 vanityfair.com / podcasts

职业：演员

首选设计师： Coco Chanel

常驻预订餐厅： 21 Club

纽约 社区： 萨顿广场 (Sutton Place)

热门社交场所： Chumley's

你是谁的缪斯... F. 斯科特· 菲茨杰拉德

你隐居的地方... 巴黎

你的恶习：抽烟

职业： 时尚 公关

首选设计师： Calvin Klein

常驻预订餐厅： Indochine

纽约 社区： 格林威治村 (Greenwich Village)

热门社交场所： Nell's

你是谁的缪斯... 彼得·林德伯格

你隐居的地方... 圣特罗佩

你的恶习：抽烟

职业：模特

Bill Blass

La Côte Basque

纽约社区：上东区

The Factory

安迪·沃霍尔或 杜鲁门·卡波特

你隐居的地方... 卡普里岛

职业：星二代 (Nepo baby)

Celine

在你的私人俱乐部

纽约社区：翠贝卡 (Tribeca)

马蒙城堡酒店 (Chateau Marmont)

安东尼·瓦卡雷洛

你隐居的地方... 乘船前往 希腊群岛

她就是那个女孩 (SHE'S ALL THAT)

究竟什么是“It girl”？在网红时代，问这个问题并无大碍。根据埃莉诺·格林在 1927 年普及该术语的中篇小说《It》的定义，“It”是一种“少数人拥有的特质，能以其磁性的生命力吸引所有人”。

在接下来的几十年里，品味引领者们塑造了一批 It girls：安迪·沃霍尔有伊迪，卡波特有贝比，戴安娜·弗里兰有特威格和 格洛丽亚·范德比尔特，而亚历山德罗·麦昆则有伊莎贝拉·布洛。快进到 2026 年，她们避开了算法。正如沃霍尔预言的那样，当每个人都有 15 分钟的成名时间时，是什么让一个女人脱颖而出？神秘感。即使每个人都知道一个 It girl 的名字，她身上总会有些不可知的地方。这里总结了一个世纪以来 It girls 的特质。 —ELISE TAYLOR

潮流之最 (EVERYTHING IT)

IT 健身 特蕾西·安德森 (依然 / 再次)

IT 饮食 微剂量 GLP-1 药物

IT 衬衫 Charvet

IT 导师 Aman 萨满

IT 美甲 裸色

IT 岛屿 希德拉岛、潘泰莱里亚岛、 梅诺卡岛

IT 山脉 多洛米蒂山脉

IT 整形手术 芭蕾舞伶胸部手术

IT 水 Loonen

IT 牛仔裤 古着 Levi's (由 Denim by Orlee 搜寻)

IT 爱好 Substack

IT 包袋 马修·布拉齐的 香奈儿 Maxi Flap Bag

IT 注射 三文鱼精子

IT 酒店 Reschio

IT 太阳镜 Jacques Marie Mage

IT 挥霍 黛安·基顿的遗产拍卖

IT 珠宝商 Jessica McCormack, Dyne, Prounis

IT 叶菜 波士顿生菜 (Butter lettuce)

IT 汉普顿 阿马甘塞特 (Amagansett)

IT 作者 Madeline Cash, 约翰·斯坦贝克

IT 丑闻 30 岁前离婚

IT 恐惧 微塑料

IT 设计 A Lalanne (见第 142 页)

四季

过去与现在

前排座次

意见领袖

报纸和杂志撰稿人，例如凯西·霍林（Cathy Horyn）和蒂姆·布兰克斯（Tim Blanks）

镜头之眼 匿名的 秀场边 摄影师

潮流引领者

杂志创意总监，例如格蕾丝·柯丁顿（Grace Coddington）或安德烈·里昂·塔利（André Leon Talley）

过去

秀场颠覆者

为了好玩而现身的超级名人，比如麦当娜几乎全裸走在让-保罗·高缇耶（Jean Paul Gaultier）秀场时的情景

把关人 传统品牌所有者 伯纳德·阿诺特（Bernard Arnault）

豪掷者

皇室或巨头之女，例如米勒姐妹，或是塔蒂亚娜·桑托-多明戈（Tatiana Santo Domingo）和卡米拉·法耶德（Camilla Fayed）

IT女孩

出身背景模糊的继承人或贵族，例如李·拉齐威尔（Lee Radziwill）或圣-舒伦贝格（São Schlumberger）

名人嘉宾

缪斯的陪同人员，比如约翰尼·德普坐在约翰·加利亚诺（John Galliano）秀场前排，观看他当时的女友凯特·摩丝（Kate Moss）走秀的情景

《名利场》

在互联网用其影响力者、博客以及——天呐！——社交媒体颠覆时尚生态系统之前，秀场世界在严格的等级制度下运行。纸质出版物、老钱阶层和顶级名人主宰着前排。他们现在依然主宰，但在千禧年过去二十多年后的今天，他们必须与一些新面孔及其智能手机共享这片空间。内容的兴起导致了前排座次的更替：像克洛伊·塞维尼（Chloë Sevigny）这样的 IT女孩与在 Instagram 上出名的影响力者并肩而坐；杂志创意总监与名人造型师亲密接触。而那些曾经掌控高级定制工坊的继承人、贵族和石油巨头之妻们呢？他们现在正与那些渗透进高雅品味神殿的科技大亨之陪同人员一起在候诊室等待：劳伦·桑切斯-贝佐斯（Lauren Sánchez Bezos），我说的就是你。——何塞·克里亚莱斯-温祖埃塔（JOSÉ CRIALES-UNZUETA）

镜头之眼 街拍造星人，例如《Vogue》的菲尔·欧（Phil Oh）或《纽约时报》摄影师 辛巴拉舍·查（Simbarashe Cha）

潮流引领者 名人造型师，例如劳·罗奇（Law Roach）或丹妮尔·戈德堡（Danielle Goldberg）

意见领袖

Substack 撰稿人和出镜视频内容创作者，例如劳拉·赖利（Laura Reilly）和 Lyas，以及依然活跃的时尚评论家和撰稿人，如瑞秋·塔什詹（Rachel Tashjian）以及霍林和布兰克斯

现在

IT女孩 获得奥斯卡提名、多才多艺且热爱时尚的大胆者 特亚娜·泰勒（Teyana Taylor）

豪掷者

科技新贵的陪同人员，例如劳伦·桑切斯-贝佐斯，或 VIC——极重要客户，例如斯内哈尔（Snehal）和乔蒂·巴巴尼（Jyoti Babani）

秀场颠覆者

不寻常的秀场客串，例如汤姆·布雷迪（Tom Brady）出现在德姆纳（Demna）为古驰（Gucci）在时代广场举办的秀场中

名人嘉宾

年薪数百万的品牌大使，例如路易威登（Louis Vuitton）的 K-pop 明星 Lisa 或迪奥（Dior）的蕾哈娜（Rihanna），两人都用金钱换取了极高的声量

激进时髦 (Radical Chic)

随着唐纳德·J·特朗普总统在华盛顿留下他的深刻烙印，罗宾·吉文 (ROBIN GIVHAN) 审视了 MAGA 的外观，以及他的追随者在攀登权力之巅的过程中是如何劫持时尚的。

在华盛顿特区生活，我一直最喜欢的一点就是能够开车穿过城市，然后像是在另一个国家度过几个小时。最近，我坐在车里，行驶在伍德利公园 (Woodley Park) 附近一条庄重但狭窄的住宅街道上，等待代客泊车员挥手示意我进入黎巴嫩——或者至少是进入其大使的官邸。我看着其他宾客大步走向阁下纳达·哈马德·穆阿瓦德 (Nada Hamadeh Moawad) 的住所，她当时正在共同主持一场午宴，以向出生于贝鲁特的时尚设计师里姆·阿克拉 (Reem Acra) 致敬。

随着车辆缓慢前行，我审视了这群正走向官邸内部的女性。这一场景看起来既熟悉又令人不安。连衣裙占据主导。高跟鞋极高。妆容是哑光的。头发被专业地喷雾固定。MAGA 的气息在空气中弥漫。就好像它那种浓缩的女性特质将官方的华盛顿推回了过去，仿佛一整个时尚时代从未发生过，仿佛女性在自我呈现方式上数十年的进步都蒸发了。仿佛回到了 1982, 甚至 1952. 听到一位宾客在谈到最近与唐纳德·J·特朗普总统的接触时表现得如此痴迷，也就不足为奇了。

的美学已经渗透到文化的每一个角落，以及外交之都华盛顿的各个角落。你同样可以在纽约朗康科马 (Ronkonkoma) 的 T 台上看到这种造型——2024, 秋天，在“美国优先爱国设计师展”上，保守派女性们赞赏那些点缀着红白蓝三色的珠宝，以及描绘《独立宣言》起草过程的裙装。在 1 月的巴黎高级定制时装展上，劳伦·桑切斯·贝佐斯 (Lauren Sánchez Bezos) 对沙漏型轮廓和挤脚高跟鞋的痴迷，成为了这种造型的缩影。今年春天，在国会山的新闻池中，这种造型出现在 LindellTV 的一名记者身上——这是一个由“MyPillow 先生”迈克·林德尔 (Mike Lindell) 创办的流媒体网站。该记者在与众议员南希·佩洛西 (Nancy Pelosi, D-Calif.) 进行一场充满争议的采访时的工作造型包括：一条超短裙、绑踝高跟鞋、一件纽扣解到胸骨底部的衬衫，以及卷曲的筒状卷发。

是一种根植于极端的风格。它敌视细微差别和多样性。它将身体正向性 (body positivity) 视为软弱的标志——但却用一种异常宽容的视角来看待总统那臃肿且衰老的身体。并且它认为性别流动性是需要被铲除的东西。“从今天起，美国政府的官方政策将是：性别只有两种，即男性和女性，”特朗普在第二次就职演说中说道。

是超女性化 (hyperfemininity) 和极端男性化 (extreme masculinity) 的代号。它是穿着细高跟鞋和色彩鲜艳、紧身连衣裙——或者是高腰挤奶女工裙的女性。它是穿着深色西装、系红领带，并在翻领上永久佩戴国旗胸针的男性（或者像国防部长皮特·赫格塞斯 (Pete Hegseth) 那样，西装内衬就是美国国旗）。 女性拥有极长的卷发和扇动的睫毛； 男性则穿着黑色的 Florsheim 鞋走来走去，这些鞋是由一位兼任国家选角导演和造型师的总统赠予的。

女性 的面孔被填充并冻结成一张毫无皱纹的哑光面具，透着一种厌女主义的共谋。男性 的身体则永远处于一种过度补偿的紧绷姿态，且可能借助了睾酮注射。

这里的目标是将人们固定在原有的位置，让他们被束缚在性别刻板印象、传统以及一个狭隘的历史版本之中。这是一种组织原则，一种安抚那些可能对不断变化的习俗和权力结构感到不安的人，或者那些

“在复杂且混乱的世界中， 让事情变得简单。女孩穿粉色，男孩穿蓝色。除此之外的一切都是噪音，”罗宾·吉文写道。

对如今什么是可接受的行为，什么又是骚扰感到困惑——或者单纯是厌烦。如果你是一个 MAGA 信徒，这种美学提供了令人安心的文化护栏。如果你不是信徒，这种美学则像是一道电网，对那些不愿循规蹈矩的人进行筛选、隔离和惩罚。

MAGA 利用并夸大了本世纪之交前几年华盛顿的主导美学。那个时代的华盛顿——带着所有那种官僚作风——是沉闷且可预测的。男性处于权力金字塔的顶端，制定政策也制定惯例。直到 1993 年，女性才开始在参议院议事厅穿着裤装；直到 2017 年，众议院的女性才被允许露出手臂。女性被引导去认为她们的身体在某种程度上是冒犯性的、令人分心的或不便的。时尚规则提供了秩序，有助于维持现状。而男性尽管占据主导地位，处境也并不好多少。他们的职责是显得稳重、强壮且平庸。

在国会山——以及它那不可撼动的卫星城乔治敦——着装是极其保守的轮廓（想想 St. John 的针织衫）与物化规范的公式化结合。女性穿着午餐套装、连裤袜和高跟鞋；她们保持着全脸妆容、刚吹好的发型和沙龙定型。男性的风格同样受到严格规定。他们穿着 Brooks Brothers 的西装，且颜色必须是海军蓝、深灰色或黑色。罗纳德·里根总统曾大胆尝试棕色西装，结果被宣布为引领时尚。这些西装的剪裁并非为了凸显男性的体格，而是为了舒适地将其掩盖。少数人尝试定制西装，但很难分辨出来。他们成功地让最顶级的西装看起来像无产阶级一样。

MAGA 风格接纳了这些熟悉的华盛顿构建，并加入了一种表演性的选美文化和“传统妻子”（tradwife）的宗教色彩——这一点通过显眼的十字架装饰得以体现。它混入了有毒男子气概的成分，并将这整套卡通般的混合物包裹在设计师品牌的奢华光泽之中。

往昔选美比赛中的魅力女郎将美貌与爱国主义混为一谈。女性气质的衡量标准是穿着高跟鞋和一件式泳装在舞台上行走的能力，而终极梦想是一顶镶钻王冠。MAGA 与那些利用现代社交媒体传播旧时代福音的“传统妻子”们相连——她们宣扬自制奶酪、穿着草原裙、生育众多子女，而她们的顶天立地之夫则在外面做着男人的事情。它使用了时尚杂志内页的语言，即使是最平凡的物品和活动也被赋予了一种纵容感和向往感。虽然这些“美国优先”的追随者宣扬民粹主义，但他们的衣橱里却塞满了 Dolce & Gabbana、Christian Louboutin、迪奥以及许多其他显眼的欧洲品牌。

这一切从白宫开始，像一系列同心圆一样向外扩散。第一夫人梅拉尼娅·特朗普处于中心：她是 MAGA 的高贵之首。她是所有其他 MAGA 女性效仿的对象。（而总统则是她们所有人都试图取悦的男人。）她穿着危险的 Louboutin 高跟鞋，保持着完美的姿态。她的眼妆是烟熏色的。衣服紧贴身体——偶尔会点缀一下传统妻子式的宽松袖口。她的微笑敏锐地捕捉着摄影师的位置。而她的常态面孔则是一种委屈感。特朗普夫人成为了一个美学模板，这种美学已变得滑稽且恐怖，平庸且令人愤怒，陈旧且不祥。

埃尔韦·皮埃尔（Hervé Pierre）是帮助塑造她公众形象的人。他也是我在那场午餐会上看到的唯一一名男性宾客——而且我很确定他是唯一一个穿运动鞋的人。他将运动鞋与一套白色西装搭配，并在翻领上别了一朵小雏菊。

如果你恰巧看过那部由梅拉尼娅掌控编辑权的、献给这位第一夫人的电影式颂歌，你就会看到皮埃尔在片中占据了重要位置。在他最令人难忘的一场戏中，他与特朗普夫人深入探讨了设计细节：他们讨论在特朗普夫人计划在丈夫第二次就职典礼上穿着的 Adam Lippes 设计大衣中，白色衣领应该从领口露出多少毫米。观众们由此得知，特朗普夫人关注服装的每一个细节，并非为了提升某个特定设计屋的地位或吸引人们关注某项特定倡议，而是因为她极其在意自己的形象。一位形象出众的第一夫人就是一位优秀的第一夫人。在“MAGA宇宙”中，风格即实质，即能力，即政策。看看就知道了：卫生与公众服务部部长小罗伯特·F·肯尼迪在桑拿房里与 Kid Rock 一起，赤脚、赤裸上身、穿着牛仔裤骑着一台健身车。

因此，这届政府会对那些他们认为不够美化拍摄对象的新闻照片表示不满，也就不足为奇了。官员们对某些照片表达了足够强烈的不满，以至于这些照片从电讯社中被删除。他们还将那些引起反感的摄影师驱逐出五角大楼的简报会，因为他们拍摄的赫格塞斯照片描绘了

MAGA风格是对过去的扭曲，是一种源于渴望、不满、动荡以及对民主所造成之结果感到愤怒的变装形式。

将他视为一个人类而非漫威角色。视觉效果是衡量成功的标准。如果看起来很美，那么它就是好的。

凭借其性别刻板印象和种族化限制，本届政府及其忠实追随者所推崇的形象正让我们陷入一种螺旋，回到了那个吸引力——以及默认的价值——是以最狭隘、最白人的标准来衡量的时代。这是一种夸张版的怀旧与体面。

这种美学追溯到了跨性别权利尚未成为政治讨论的一部分，且同性婚姻尚未在美国全境合法化的时代。那时，这个国家还没有选出过一名黑人总统，甚至没有想象过一名黑人第一夫人。《CROWN法案》尚未在州一级被通过，也尚未在联邦一级被提出。历史性的女性浪潮尚未被选入国会。

这是对过去的扭曲，是一种源于渴望、不满、动荡以及对民主所造成之结果感到愤怒的变装形式。

皮埃尔（Pierre）是法国人，自2016年起就处于特朗普夫人的社交圈中。他幽默且直率，而且如果有人好奇的话，他很清楚有些人每次看到总统和第一夫人时都会感到震惊。他将这种先入为主的愤怒视为做好工作的挑战。

皮埃尔在与特朗普夫人合作她的第一件就职礼服时与她相识。这件香草色丝绸绉纱连衣裙现存于美国国家历史博物馆，其单层瀑布褶边和腰间窄窄的深红色缎带，暗示了旧世界的工艺与克制。它还带有一种轻盈感。由于裙摆的开衩设计，它显得女性化且略带性感。

与分别为希拉里·克林顿和劳拉·布什设计礼服、且与第一夫人家乡城市有联系的设计师萨拉·菲利普斯（Sarah Phillips）和迈克尔·费尔克罗斯（Michael Faircloth）不同，皮埃尔与特朗普夫人之间并没有长期的关系。皮埃尔也不是那种会在作品中构建青年创业叙事的设计师，就像杰森·吴（Jason Wu）为米歇尔·奥巴马设计礼服时所做的那样。对于皮埃尔来说，一件裙子就仅仅是一件裙子——剪裁精良，制作考究，并根据场合呈现出恰当的正装或便装风格。

皮埃尔的作品和眼光表明，没有任何一件衣服，没有任何一种单一的剪裁、颜色或装饰是典型的“MAGA”风格。它是多种元素的结合。它是MAGA用一个故事来填补空白的方式，是时尚被用作贬低、分裂和划分优先级的武器的方式。毕竟，这位第一夫人曾穿着一件写着“我真的不在乎，你在乎吗？”（I REALLY DON'T CARE, DO U?）的外套离开白宫，前往一个移民儿童拘留中心。她是代表一个与包容性、移民和非白人历史处于战争状态的政府的代表。当被特朗普夫人采用时，皮埃尔对旧世界工艺的执着读起来就像是对新世界多样性的一种谴责。正式感已成为一种冷酷无情的表达。对于每一位欣然且有意地将衣服披在特朗普夫人背上的设计师——无论是利普斯（Lippes）、斯特凡诺·加巴纳（Stefano Gabbana）还是多梅尼科·多尔切（Domenico Dolce）——人们不禁想问：你在乎吗？

多年来，这场运动将平庸的性感表达或专业主义—— 续见第168页

经典重生：SKECHERS D'LITES 330

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谢尔曼的进军

海达·霍珀。艾尔莎·麦克斯韦尔。辛迪·亚当斯。对于那些最著名的八卦传播者，我们向来处于一种爱恨交织的关系中。《行货单》（Line Sheet）的作者劳伦·谢尔曼（Lauren Sherman）是这一衣钵的最新继承者。艾丹·麦克劳林（AIDAN McLAUGHLIN）与这位时尚界人人对其都有看法的新闻记者一同出席了时装秀。

在贝尔艾尔酒店（Hotel Bel-Air）高处的一座淡黄色展亭内，劳伦·谢尔曼静静地坐着，看着模特们穿着皮革马靴，系着丝绸围巾翩翩而过。一群奢侈品高管、时尚记者和少数名流被接送到这座山丘上，在黄金时刻到来之前抵达此处。这片占地三英亩、可俯瞰洛杉矶全景的顶级地产所有者低声透露，爱马仕（Hermès）花费了数百万美元，从零开始打造了这个奶油色的奢华之作。

谢尔曼坐在凯丽·华盛顿（Kerry Washington）和麦莉·赛勒斯（Miley Cyrus）对面，两人在座位上不安地跳动，兴奋地互相八卦。她则大多保持沉默，偶尔用 iPhone 拍摄一名模特或记录笔记。“我想说，作为一名记者的最大弱点是我确实不喜欢挡路，”她随后告诉我。

谢尔曼继续审视人群。“时装秀是观察权力动态转移的绝佳场所，”她说。她指出，一名通常在类似时装秀的第二排默默无闻的爱马仕高管，现在竟然坐在了前排。“这就是我判断他在职场晋升的方式。”当爱马仕女装艺术总监纳德吉·范希（Nadège Vanhée）在 T 台上快步走动时停下来拥抱 OpenAI 高管查尔斯·波奇（Charles Porch）时，她密切地关注着。

次日早晨，在谢尔曼为 Puck 撰写的犀利时尚产业时事通讯《行货单》中，她尽职地评估了该系列。但真正让读者欲罢不能的，是她对时尚界创意之星——甚至是对他们最卑微的下属——命运起伏的冷酷剖析。谢尔曼以一种毫无美感的冷漠，对各大时装屋备受推崇的创意总监进行猛烈抨击而闻名。今天，爱马仕幸免于难。谢尔曼写道，范希与波奇的拥抱证明了她拥有“广泛且出人意料的人脉网”。谢尔曼专栏的标题对范希来说十分幸运，称这位在爱马仕工作 10 年的资深人士“魅力日益增加”。

44 岁的谢尔曼并不是像《纽约时报》作者瓦妮莎·弗里德曼（Vanessa Friedman）那样的评论家，她也不打算成为那样的人。“没人关心她对衣服怎么看，”一位时尚编辑说。她提供的是一种挑衅性的行业分析、关于谁在上升谁在衰落的推测，以及真正的独家爆料。这种以业内人士口吻和尖刻且笃定的语气呈现的内容，使谢尔曼成为时尚媒体中最具影响力——也最具争议——的人物之一。在短短三年内，她将《行货单》打造成为 Puck 第二赚钱的品牌，配备了一个四人的报道团队、播客、活动业务，其受众涵盖了从奢侈品集团高管到编辑、设计师、投资者、公关人员以及时尚痴迷者。

除了极少数例外，时尚杂志通常会对该行业提供讨好的报道——如果它们要批评，也是通过选择性忽略来实现。在《行货单》中，谢尔曼正用一套老派的剧本来颠覆这个僵化的行业：对某些人大加赞赏，对另一些人痛加鞭挞，并允许私人恩怨在她的时事通讯范围内展开，刊登那些可能成为事实也可能并非事实的传闻。她的读者从未见过这样的风格。

这些受众帮助谢尔曼挖掘了重大新闻。去年，她是第一个报道克洛伊·马勒（Chloe Malle）被任命为《美国版 Vogue》主编的人；最近，她在官方宣布的一周前报道了《纽约》杂志创意总监乔迪·昆（Jody Quon）“正在洽谈协议”，将成为《纽约时报》风格杂志《T》的下一任主编。在此之前，她率先爆料了香奈儿（Chanel）选定马修·布拉齐（Matthieu Blazy）作为其新任艺术总监这一期待已久的消息。

谢尔曼敏锐地意识到自己的权力——并对此充满强烈的自信。“马克指派这个故事是很聪明的，”她在六月的爱马仕（Hermès）时装秀上对我说道。她指的是我的上司、《名利场》（Vanity Fair）的编辑马克·古伊杜奇（Mark Guiducci），并暗示他认为一篇赞美之词的人物特写能让《名利场》在《Line Sheet》上获得更温和的报道。她精明地赞扬了那些与她维持良好关系的编辑，比如《W》杂志的主编萨拉·蒙夫斯（Sara Moonves）。蒙夫斯后来在电子邮件中写道：“她是我们行业中一个极具影响力的人物。”

“坦白说，我认为人们害怕我，”谢尔曼说。她停顿了一下，准备提供

“你知道吗？”舍曼说道，“我确实认为我比其他任何人都更清楚。”

一个免责声明：“我不是个霸凌者。”但她确实令人心生畏惧。“每当我看到自己的名字出现在开篇的简报中，我每次都会感到一阵焦虑，”一名在舍曼的电子邮件“歌剧”中经常扮演配角的时尚高管说道。作家兼播客主持人克里斯·布莱克（Chris Black）将 Line Sheet 的影响力比作“就像你在 90 年代希望看到自己的名字以粗体出现在《Page Six》专栏上的那种感觉。无论好坏，只要你在其中，你就是话题的一部分。”

舍曼的受众极其痴迷。一名时尚编辑回忆说，当 Line Sheet 爆出她入职新工作的消息时，她收到了“数百条”短信。她时事通讯报道的对象表示，她经常在他们自己知道之前就报道关于他们公司的消息。“有时我不知道她是怎么知道这些事情的，”那位高管说。

她转圈圈 劳伦·舍曼以直击时尚界“神圣牛”而闻名，此处她与巴黎圣皮埃尔旋转木马（Carrousel de Saint-Pierre）的木马共拍。

“她是我唯一会打电话请她对我们正在考察的公司进行尽职调查的记者，”一名与时尚企业合作的风险投资家说道，“我信任她的嗅觉，信任她的情报。”

“她已经把 Puck 打造成了时尚界不可或缺的存在，”一名竞争对手时尚记者说，“你不可能不读它。”

现在是一个报道时尚而非在其中工作的绝佳时机，而这正是 Line Sheet 成功的核心。在过去几年里，这个规模达 $2.5 trillion 的行业一直处于近乎持续的更迭状态。香奈儿、古驰、华伦天奴、罗意威、赛琳、汤姆·福特、德里斯·范诺滕（Dries Van Noten）和 Maison Margiela 都经历了创意领导层的更替。这些奢侈品牌越来越像体育特许经营球队，明星设计师在相互竞争的企业帝国之间被交易、被挖角、被招募。舍曼将这种动荡搅动成了一场引人入胜的戏剧。去年，在各大品牌高层招聘和解雇的狂风暴雨中，一群顶尖设计师建立了一个 WhatsApp 群聊，专门用来抱怨舍曼对他们命运的报道。

“我并不真正关心衣服，”布莱克说，“我根本不在乎什么该死的剪裁。这些人物、他们为什么这么做、他们拿多少钱、他们要去哪里、为什么去、谁被取代——劳伦把这一切变成了一场完整的真人秀。”

在光鲜亮丽的时尚杂志之外工作赋予了她某种自由。品牌方与报道它们的杂志之间长期存在着一种默契的共谋，这意味着大多数时尚记者都会遵守禁令（embargoes）——即公司与媒体之间达成的协议，规定某条新闻在正式公布前不得发布。舍曼被自己的野心以及她在 Puck 的平台所解放，后者被认为较少受奢侈品广告商的制约，因此她根本不理会此类协议。“我认为任何发送带有‘禁令’字样东西的人都是愚蠢的，”她说，“我绝不可能遵守那个。这太疯狂了。人们为什么要那样做？”（Puck 的一名消息人士表示，该媒体“经常同意并遵守新闻禁令”。）

这也意味着她可以比竞争对手更自由地报道街头传闻。“主流报纸必须对传闻非常谨慎，但她有自由去写那些并非 100 percent 确认但往往最终被证明正确的事情，”策展人兼艺术交易商杰弗里·戴奇（Jeffrey Deitch）说道，他是一名忠实的 Line Sheet 读者，“这让阅读变得有趣得多。”舍曼经常在关于流言蜚语的推测性专栏末尾加上随意的恳请：“总之，如果你知道更多，也请给我打电话！”

她的这种方式导致她的崛起充满了争议。舍曼在时尚界各大集团的高层，以及她既报道又竞争的媒体圈中都树立了敌人。“Puck 的普遍做法就是听到传闻就写，”一名时尚记者说道，“他们经常将其包装成‘我们拥有特殊的内部消息’。这让每个人都快疯了，因为每个人都有内部消息。每个人都听过那个传闻，但它毕竟只是传闻，而其他机构对于可以发布的内容有不同的规定。他们本质上是在博概率。写一个传闻，如果对了，那么我们就成了首发报道者；如果错了，也没关系，因为大家很快就会忘记，而且总会有新新闻。这是一场相当不错的轮盘赌。”

“我们的记者在他们报道的行业中拥有深厚的资源，”Puck 联合创始人乔恩·凯利（Jon Kelly，曾任《名利场》编辑）表示，他称舍曼为“顶尖的、一代才有的新闻天赋”。“因此，我们培养了一批忠实的读者群体，他们转向我们寻求在其他地方找不到的报道。”

在痴迷于形象的时尚世界里，敌意以一种奇特的方式表现出来。有些人刻薄地指出，舍曼在个人风格方面并没有最清晰的认知。舍曼的一位朋友说，随着 Line Sheet 的成功，这一点有所改善：“劳伦现在显然赚了很多钱，并且把这些钱穿在了身上。”在爱马仕（Hermès）的秀场上，她穿着由达里奥·维塔莱（Dario Vitale）设计的范思哲（Versace）鞋子，以及一件在 The RealReal 上以 $125 买来的菲比·费洛（Phoebe Philo）时期的 Chloe 夹克。她的手腕上戴着一只卡地亚（Cartier）Panthère 手表。考虑到她挥笔的方式，她可以预料到会面临一些攻击。舍曼最近为了更接近时尚前沿而将家人迁至巴黎，而巴黎是一个残酷的城市——舍曼并非最能自然融入的人。她有时会将 Blazy 的名字发音为“Match-yoo”而不是“Ma-tyeuh”。

“有些人讨厌她，”巴黎公关主管吕西安·帕热斯（Lucien Pagès）说，“她让人们感到紧张——那些竞争独家新闻的人，以及那些有事隐瞒的人。她甚至能让我紧张！”Line Sheet 激起的这种焦虑正是其对读者吸引力的一部分。“如果你没有敌人，说明你没把工作做好，”布莱克（Black）说道。

舍曼承认自己可能会主观，并且有偏好。“这比任何事情都更让我抓狂，”她说，“如果你问凯茜·霍林（Cathy Horyn），我想她可能会说没有，但她绝对有。我们都知道她爱谁，她和谁一起度假。这是一个和卡尔·拉格斐（Karl Lagerfeld）一起度假的《纽约时报》记者。我才不会和这些人一起度假。”（“劳伦搞错了，”目前担任 The Cut 特约时尚评论家的霍林说道，“我不认为拉格斐曾经去过度假。”）

舍曼报道中变幻莫测的特质可能会让她的报道对象感到不安。“她的观点是会演变的，”《纽约时报》Styles 版编辑斯特拉·巴格比（Stella Bugbee）说道，她从 2013 年起就认识舍曼。

“任何发送带有‘禁发’（EMBARGOED）字样东西的人都是愚蠢的，”她说，“我绝不可能遵守那个。这太疯狂了。人们为什么要那样做？”（Puck 的一名消息人士称，该媒体“经常同意并遵守新闻禁发协议”。）

“有一天她会说，‘我爱那个人。’然后如果她不喜欢对方做的某件事，她就会公开指责。我想这大概就是人们害怕她的原因。”在现实生活中，舍曼同样热衷于给出此类评判，无论是针对小众男装时事通讯 Blackbird Spyplane——“那家伙太把自己当回事了”——还是针对 Puck 作者署名旁边的插图：“你可以记录在案，我不喜欢那些愚蠢的草图。”

这一切都符合 Puck 磨练得炉火纯青的风格：用一种真实或伪装的、机构式的全知视角发表宏大的宣言。在关于《华尔街日报》一名编辑晋升的简报中，舍曼成功地将自我赞美和一丝毒液浓缩在同一个句子中：“《华尔街日报》杂志编辑莎拉·鲍尔（Sarah Ball）是向上管理的大师，本周她完成了一次早已被预料到的操作——至少在我看来是这样。”当我问舍曼关于 Puck 自命不凡的名声时，她回答道：“你知道吗？我确实认为我比其他所有人都更懂。我的意思是，不，其实并不是。但我们说话的方式就是每个人在幕后交谈的方式。我们试图将那些心照不宣的话大声说出来。”

舍曼对她结了敌人的这一说法很敏感。“对我来说也很难，”她说，“我不喜欢被人们讨厌。这没什么乐趣，而且经常感觉不对劲。有些人讨厌我，我可以理解原因，但并非所有人都是这样。”但在面对一些她报道的时尚品牌给予的冷遇时，她表现得十分强硬。“我某种程度上是为后来者而牺牲的羔羊。我让自己处境艰难，是为了让其他人能够相当坦诚地报道这个行业。而且事实是，这已经不是我第一次没被邀请参加时装秀了。”

舍曼出生于密歇根州的特伦顿，父母在一家牛仔裤店工作时相识。她在匹兹堡长大，那里与时尚之都相隔万里。她的父母没什么钱，但非常在意风格；从她大到能读《Sassy》杂志起，她就渴望前往纽约。到了青少年时期，她定下了一个计划：“搬到纽约，报道巴黎时装周，住在像鞋盒一样小的公寓里，并拥有一个香奈儿包。”其他经历也激发了她的野心。“我在高中时和那些‘刻薄女孩’做朋友，”她回忆道，“其中一个说，‘劳伦太幸运了，她想要的一切最终都会实现。’这确实是真的。而另一个女孩说，‘她不幸运，她又胖又穷。’我永远不会忘记这句话。这就像是燃料一样。”

大学毕业并在伦敦短暂工作一段时间后，她搬到了纽约，先后在《福布斯》（Forbes）、Fashionista、Lucky 工作；最终进入 Business of Fashion，在那里担任首席记者并建立了一个极其庞大的联系人名单。到那时，舍曼和家人已经搬到了洛杉矶，但她很快就感到不安。她变得“完全痴迷”于马修·贝洛尼（Matthew Belloni）在 Puck 撰写的极具影响力的好莱坞简报，并考虑过自己报道娱乐产业。无论做什么，她都想在 Puck 工作。“从一开始你就能看出她将要留下自己的印记，而且她并不在乎这是否发生在传统媒体中，”巴格比说。

舍曼在休假撰写《贩卖性感》（Selling Sexy）时——这是她与 The Cut 作者尚塔尔·费尔南德斯（Chantal Fernandez）合著的 2024 年关于维多利亚的秘密的书籍——她联系了一位在 Puck 工作的朋友来推荐自己。“我不在乎，我可以写沃尔玛，”她回忆起自己当时的话，“如果你们打算做时尚、零售或任何相关内容，我必须参与其中。”事实证明，凯利当时正在寻找一名时尚作家。“在 15 分钟内就立刻很清楚，劳伦具备了你可能寻找的所有特质，甚至更多，”他说，“在谈话进行到 45 分钟时，我打断了她。我说，‘你被雇佣了。我们就这么定了。’我以前从未这么做过，之后也再没这么做过。”

当 Puck 宣布舍曼为其新任时尚作家时，该媒体将其冠以“她这一代最卓越的时尚记者”之称，这一荣誉在竞争激烈的行业中引起了人们的质疑。“我们当时都觉得，这太疯狂了，”一名时尚记者回忆道。但随着时间的推移，Puck 这种夸大的品牌塑造反而显得几乎像预言一样。“笑话变成了我们的，因为在某种程度上，这确实变成了事实。”

随着 Line Sheet 读者群的扩大，谢尔曼启动了一系列横跨洛杉矶到米兰等城市的私人晚宴，并与 CBS 新闻达成了一项撰稿协议。谢尔曼于 1 月加入该网络，与新任总编辑巴里·魏斯（Bari Weiss）招募的一批新撰稿人一同入职。当我问到该网络时，她叹了口气。“我想说，我——我正在观察它的发展情况，我们拭目以待，但目前为止我的体验不错，”她说。接着补充道，“在我决定这么做的时候，这看起来是个很棒的主意——而且到目前为止，体验确实不错。”

今年早些时候，谢尔曼和她的丈夫——同样是记者且身为媒体创始人的丹·弗罗默（Dan Frommer）从洛杉矶搬到了巴黎东区，并将他们五岁的儿子送进了一所双语蒙特梭利学校。“现在业务集中在欧洲，”她说，“除了耐克（Nike）和 Skims，美国没有多少我报道的公司。所以，为什么不在这里呢？”

2024 年，《金融时报》报道称，LVMH 主席贝尔纳·阿尔诺（Bernard Arnault）向员工发送了一份愤怒的备忘录，命令“绝对禁止”与几家出版物的记者交谈。名单上只有一家美国媒体：Puck。“我正式谴责任何旨在维持与不道德记者关系，并向其提供集团生活相关信息或评论的行为，”阿尔诺写道，“任何违规行为（且这必然会被知晓）都将被视为严重违纪，并承担相应的后果。”

谢尔曼表示，这家全球最大奢侈品集团掌门人的命令并没有损害她的业务：“我拥有的关系就是我拥有的关系。”

尽管她在路易威登的秀场上可能不会受到最热烈的欢迎，但 Line Sheet 依然能从阿尔诺那座戒备森严的堡垒内部挖掘出独家消息。“显然有人在向她提供信息，”谢尔曼的经纪人兼多年好友马克斯·斯坦（Max Stein）说，“而这些人恰恰就是那些在抱怨她掌握了信息的人。”即使是谢尔曼的批评者也承认，她依然能听到许多人的心声，包括那些掌控资金的人。这位风险投资家表示：“很多不喜欢她所写故事的人仍然经常与她交谈。劳伦专注于揭露许多人不想被写出来的商业内幕。”

谢尔曼一直是康泰纳仕（Condé Nast）的眼中钉，而康泰纳仕正是《名利场》和《Vogue》的母公司。她报道这家公司的热情与那些剖析凡尔赛宫廷的回忆录作者一样充满戏剧性。同样，在温和措辞已足够的情况下，她倾向于插入一个尖锐的贬义词。在宣布马莱（Malle）被任命为美国版《Vogue》最高主管的故事中，他被认为是安娜·温图尔（Anna Wintour）的“长期恳求者”。一名跳槽到《华尔街日报》的《Vogue》员工被描述为“长期的安娜·温图尔走狗”，随后谢尔曼在下一行进行了澄清：“我说‘走狗’是带着感情的。”在“谢尔曼语”中，“走狗”显然是指“《Vogue》机器中不可或缺的一部分”。吉杜奇（Guiducci）在 Line Sheet 中也被贴上了走狗的标签。[编辑注：]

我如何毁掉——随后重建——我的生活

当她与加文·纽森（Gavin Newsom）出轨的消息在公众面前爆发时，这仅仅是一场长期撕裂的私人崩溃在外部留下的印记。在废墟之中，露比·里佩（RUBY RIPPEY）直面了自己的心魔，但失去了她最爱的人以及她自己的声音。二十年后，她准备分享她的故事。

我有一个处于康复期的朋友，她说当她戒酒成功时，她的家人感到措手不及。没有人预料到；她隐藏得很好。而我的故事并非如此。当我进入戒毒所时，没有人感到震惊，只有

宽慰。我的酗酒行为在很久之前就不再是秘密了。

在接受治疗之前，关于我出轨的传闻浮出水面时，没有人感到惊讶。除了那个最需要知道的人——我的丈夫——似乎每个人都知道。我一直在与他的老板睡觉，那个人同时也是我的老板，而且还是旧金山市长。我曾认为戒酒能让我的生活重回正轨。然而，它却让我独自面对真相。

在戒毒所里，当谈到是否要告诉丈夫这个问题时，我的治疗师身体前倾——留着乌黑的头发，画着深色眼线——传达了护理团队的建议。“我们认为，为了你的戒酒效果，最好不要告诉他。因为这涉及到公众人物，后果可能是毁灭性的，并且可能会威胁到你的康复。”

她的结论让我感到不安。即便在那时，我也知道告诉亚历克斯（Alex）是必要的。

从戒毒所回家后，我放弃了结构化的康复计划，尝试独立戒酒。在接下来的几个月里，我保持清醒，而我的丈夫每天去为那个曾与他妻子睡觉的男人工作。这种沉默开始让我觉得几乎像是一种犯罪。

混音带-1999

我第一次见到亚历克斯是在威利·L·布朗（Willie L. Brown Jr.）市长任职期间的旧金山市政厅。我是市长的首席日程规划员；亚历克斯负责领导社区服务办公室。

几个月来，他总能找到理由顺道来我的办公室。一名同事告诉我，他打听过我。我说我不感兴趣。尽管如此，他依然经常过来。一个下午，他带来了来自马克斯熟食店（Max's deli）的马措球汤（matzo ball soup），那是我的最爱。另一次，他带来了一盘混音带。

一个下午，我正在办公桌前吃沙拉，他走进来坐在我对面。我抬头与他的目光相遇——那双眼睛很大，棕色，且坚定——某种东西发生了转变。我看他的眼神变了。或者也许是我允许自己看到了他一直以来展现出的样子。他举手投足间有一种毫不费力的自信。他身上有一种沉稳的力量。

在除夕之夜，当时间跳向2000年时，我们在一个朋友的后门廊上第一次接吻。午夜时分，整座城市爆发出的喧嚣将我们紧紧压在墙上。烟花、汽车喇叭声，以及一个世纪结束时集体的长舒一口气。这感觉像是一个开始。在那晚之后，我一遍又一遍地播放那盘混音带。

监事-2003

随着布朗市长的任期届满，我的新婚丈夫和我被招募加入下一届市长竞选活动。一名来自第二区的年轻监事加入了竞争，他经常被描述为具有肯尼迪式的风格。亚历克斯担任现场总监；我担任财务副总监。

在那几个月里，我们并肩前行，经历了我的怀孕，经历了胜利显得不确定时的漫长时光。当我们的候选人以53%的得票率获胜时，我们一起走进了市政厅。我们坚信自己正在创造某种全新的东西。

圆顶之下——2004

政府执政一年，这座城市依然带着政治黎明时的活力——市长的个人魅力似乎正势头渐强。

在就职仅一个月后，他使同性婚姻合法化。当时我怀孕七个月。我穿着一件孕妇裹身裙，踩着豹纹小猫跟鞋，站在市政厅的圆顶之下，被授权为新人主持婚礼。

政府运作正渐入佳境。我担任委员会秘书，负责协调近一百个市级委员会和机构的任命工作。走廊尽头是我丈夫的办公室——他是副幕僚长。有些早晨，我会用一个特百惠容器给他带两个水煮蛋。他从办公桌前抬起头，对我微笑。

有一天，我被告知我的办公室被重新分配了。市长希望我坐在他门外的办公桌前，充当一名“守门人”。我明白其中的逻辑：这是一个全新的政府，充满了在摸索中前行的年轻员工。尽管如此，失去办公室仍让我感觉像被降职了。

但我的新办公桌很快成为了一个神经中枢。我管理着那些希望从他那里获得某种结果的源源不断的人流，并用厚厚的黄色索引卡传递便条——这是从布朗大学时期延续下来的习惯。

一天晚上，我们都在伦巴第街的一家墨西哥餐厅聚会。温热的玉米片。青柠。玻璃杯中渗出水珠的玛格丽塔酒。当服务员点单时，我感觉到市长在看着我。我抬头看向桌对面，回望他。他似乎被弄得措手不及，反应过来后指向我。

“嘿——你看起来状态真好，”他说，“你把怀孕时的体重全减掉了。”现场响起一阵尴尬的笑声。我伸手拿了一块玉米片，盯着我丈夫的玛格丽塔酒，杯缘的盐粒在光线下闪烁。

我想喝。

但我正处于另一段自我强加的禁酒期，所以我按捺住内心，等待这股冲动过去。

在那之后，我开始更加关注自己的穿着。香奈儿的彩妆。一件收腰的黄色丝绸连衣裙。粉色漆皮高跟鞋。在高级职员会议上，我们围成半圆面对他那张巨大的橡木办公桌，12英尺长的天鹅绒窗帘紧闭，让房间笼罩在一种私密的光芒中。我穿着新买的高跟鞋，一件紧身铅笔裙。我翘起腿，觉得自己很重要。

很难将那个女人与短短一年后我变成的人联系起来。我那些凭意志力维持的禁酒期变得越来越少，间隔越来越长。直到最终彻底停止。

白色连衣裙——JULY 2, 2005

如果这件事有一个起点，那便是在独立日周末的一个下午婚礼上。一名在市政厅工作多年的职员要结婚了。

所有人都去了。我穿着一件白色抹胸连衣裙；我母亲说这在婚礼上不合适。她催促我戴一顶棕褐色的宽檐帽来增加色彩，但我把它留在车里了。

破碎的碎片 “这不是爱。这不是浪漫。这是醉意，”鲁比·里佩（Ruby Rippey）在描述这段婚外情时这样写道。

招待会在纳帕谷的一座庄园举行，周围环绕着葡萄园。长桌在午后的阳光下排开。亚历克斯和我与一群同事站在一起——交谈，欢笑，手里拿着香槟。我感到一种无法名状的躁动。我喝了香槟，然后是葡萄酒。接着是更多的葡萄酒。我的晚餐原封不动。

我和我的老板最终在洗手间外狭窄的走廊里同时相遇。我们面对面地等待着。空间很局促。沉默在延伸。他把手插在棕褐色西裤的口袋里，微笑着——那是他惯有的、腼腆而憨厚地微笑。我没有说话。我盯着他的目光停留的时间比应该的更久。

空气发生了变化。

夜幕降临时，我坐在热水浴缸的边缘，双脚浸在水里。他在我对面，脱掉鞋袜，卷起裤腿。我的丈夫很快就离开了，他对我想要继续派对而他得开车回家照顾一岁儿子的想法感到恼火。

下一个清晰的记忆是进入老板由司机驾驶的豪华轿车后座，前往卡内罗斯旅馆（The Carneros Inn）。车里还有其他人——他的妹妹，以及另外几个人。车里弥漫着新皮革的味道。我把腿伸在中央控制台上，任由高跟鞋脱落。他坐在前排。他拿起我的一只脚开始按摩，这个动作在嘈杂的车厢内半遮半掩。

然后便是一片空白。

第二天早上我在他身边醒来，还穿着衣服。我很冷，几乎在发抖，而我的连衣裙——那件我母亲警告我不要穿的裙子——从腰部以下全部湿透了。我昏过去了。我还尿床了。（这不是第一次。）

他还在熟睡。我找到了我的手拿包，收拾好高跟鞋，迅速离开，我想回到亚历克斯身边。

几天后，回到工作岗位，老板经过时将我的金手镯轻轻放在我的办公桌上。那是祖母送我的礼物，被遗忘在纳帕的酒店房间里。他继续走开了。我们假装什么都没有改变。

但一切都改变了。

界限开始瓦解。我在门口徘徊，将自己置于他的视线范围内。在活动中，他会帮我开门，等着我先走。短信的内容从工作转向了其他东西。我制造各种理由去接近他。这种精心编排的互动变得显而易见。人们注意到了。

随着这场表演在众目睽睽之下展开，我开始用距离五点钟还有多久来衡量我的日子——那时我可以开始喝酒了。我扫描他的日程表寻找空档，寻找那些我可能在当晚稍后“恰好”能见到他的地方。我抵达，确保被他看到，然后离开。

不久后，我的手机亮了起来。“你在哪里？” 但我在哪里并不重要，因为我总是会去找他——他在俄罗斯山（Russian Hill）的顶层公寓，北滩（North Beach）一家酒吧的私人后室，或者洛杉矶的W酒店。

我们见面，然后喝酒。有性行为，但这并不是重点。重点是接近——接近权力，被选中，感受到一种全新的可见度——不再被怀孕、被新晋母亲的身份、被在漫长的禁欲期中苦苦支撑的压力所掩盖。

这不是爱。这不是浪漫。这是醉意。一条短信就是一次快感。走廊里的一次对视，一次快感。风险涌入我的血液。我走在市政厅的走廊里——裸色细高跟鞋敲击着大理石地面。他看着我，目光深沉，带着一种新鲜的好奇。这种感觉就像氧气一样。

我没有停下来考虑后果——不考虑亚历克斯，不考虑我自己，也不考虑我正在构建的生活。我是在回应那种感觉。他的关注像一次快感般降临，而我以一种专注的虔诚追随其后。

污渍

当我随他前往他在俄罗斯山（Russian Hill）的顶层公寓时，司机被告知在原地等待。我表示反对。但在凌晨时分，当我走回人行道时，那辆黑色林肯车依然在那里，在路边怠速运行。我滑进后座，过度地向司机致谢，心中因确信对方早已洞悉一切而感到羞愧。

有一天晚上在他家，我躺在他的特大号床上，侧身看着

到早晨，我的脸出现在每家当地报纸的头版之上。电视台循环播放着这条新闻。市长在电视上举行了现场新闻发布会。“你们听到和读到的所有内容都是真实的，”他说。

他。他四肢着地在床边，用一块洗脸布疯狂地擦拭着地毯。我不小心打翻了一杯红酒，酒液在浅色地毯上绽放。我记得当时在想：那块污渍洗不掉了。他仿佛听到了我的心声，沮丧地抬起头。“你知道的，我们真的不能再这样下去了。你不能这样对待亚历克斯。”

随后，独自坐在他的专车后座上，我感到一种解脱感。这让我想起十多年前的第二次酒驾——在亚历克斯之前，在市议会之前。当我驶离金门大桥时，后视镜中闪烁着红蓝色的警灯。我记得当时在想，也许现在一切都结束了。

但这种邂逅在接下来的几个月里断断续续地持续着。我在凌晨三点回家，烂醉如泥，呼吸中弥漫着浓烈的酒精味，然后滑进床铺，紧贴着熟睡的丈夫，用我冰冷的身体贴着他取暖。熟悉的恐惧感随之袭来。

有些早晨，我躺在床上，宿醉且痛苦，恳求亚历克斯：请今晚不要让我喝酒。这是一个不可能实现的请求。他无法控制它，就像我一样无法控制。“你就不能只喝两杯霞多丽吗？”他问。

我爱他，爱他固执地拒绝看到我彻底崩塌的样子，爱他相信节制是我有一天能学会的一种技能。我爱那个在他眼中映射出的我自己。

小纽扣

我计划了一次去洛杉矶的闺蜜之旅，因为我知道他会在那里出差。下午两点，我和朋友在比弗利山庄的 Maison 140 泳池边喝着冰镇霞多丽。我的手机震动了。他在 W 酒店。“你们应该过来看看。”我们喝完酒，动身前往。

在酒店酒吧里，我只记得一些碎片——靠得太近，笑声太高。然后一切陷入黑暗。

第二天早上，我在他身边醒来。房间里很安静。我的头剧痛。床边的地板上，细小的衬衫纽扣像硬币一样散落着。不是我的。一颗粘在我的大腿后侧。我把它撕下来，小心地穿好衣服，在没吵醒他的情况下离开了。

回到酒店，我告诉朋友我需要提前结束行程。我编造了一个关于我儿子的理由，预订了最早的一班回程航班。在飞机上，身边是一个空位，我第一次哭了起来——一种持续的、震惊的悲恸。我突然意识到，后果将不会止于我一人。这可能会让我失去生命中发生过的最好的事情：亚历克斯。但更糟糕的是，这些后果将最沉重地落在他的身上——那个最不应该承受这一切的人。

当我落地时，手机亮了：“谢天谢地 W 酒店有 T 恤。”直到那时我才模糊地意识到——我撕掉了他的衬衫，每一颗纽扣都被扯掉了。

此时，掌控我神经中心的那个自我版本正在崩溃。我现在在一个曾经是复印室的临时办公室里工作。我每天迟到，大多时候处于宿醉状态。早早离开，脑子里只想着喝酒。

药片

随着我的酗酒和生活开始陷入恶性循环，我开始服用 Antabuse，这是一种承诺如果在饮酒后会让我感到不适的药片。每天早晨我都会吞下一颗，坚信今天就是我守住底线的一天。但到了下午晚些时候，我的决心便开始动摇，我开始与未来的自己进行讨价还价。

有一天晚上，我坚持到了 7:30. 在一场私人派对上，托盘里的霞多丽葡萄酒在房间里循环传递。我看着它们经过，仿佛它们承载着救赎。我拿了一杯。接着又拿了一杯。几分钟之内，我的脸变得通红并开始肿胀。我的眼睑变成了缝隙。人们盯着我看。“露比，你的脸——怎么回事？”我挥了挥手。只是灯光的问题。灯光太亮了。

药片让我感到不适。但它并没有让我停止饮酒——它只是让我停止服用药片。

于是我转向了可卡因。

单独地，可卡因对我没什么吸引力。但在喝了一两瓶葡萄酒之后，它能让我饮酒量增加一倍，且持续时间延长一倍。

夜晚变得模糊：屋顶酒吧、葡萄酒、香烟，以及我立刻就忘记的名字。陌生人的客厅。在早已不想再吸的时候，依然吸完最后几道线。太阳升起时乘出租车回家的路。这座城市

一段漫长的沉默 里佩写道，卡玛拉·哈里斯建议她在发声前先暂停一下：“更多的时间会给你更好的视角。”

已经开始运转——属于那些已经睡过觉的人。我的身体，像一个犯罪现场。

人们问亚历克斯怎么会不知道——为什么在我凌晨三点踉踉跄跄回家时，他没有询问。目睹了我近距离崩溃的姐姐说，亚历克斯和我都在与市长搞外遇。他如此专注于他的工作——以及他的老板——以至于他选择无视眼前发生的一切。

此时，我那单一的专注力已经转移了：酒精和药物取代了它的位置。我在一家家酒吧之间穿梭，与那些不问问题的人一起待到黎明。当他的短信点亮我的手机——紧急且执拗——我毫无感觉。

我的姐姐开始在夜晚跟踪我，试图让我处于她的视线之内。一天早晨五点刚过，她开车送我去急诊室。我的鼻子止不住地流血——又来了。我用一件旧 T 恤按在脸上，看着它变深。我的牛仔裤松松垮垮。她的双手紧握方向盘。

医生对我鼻腔内部进行了电灼处理。某种东西被烧焦的味道——金属味，苦味——充满了狭小的诊室。在回家的路上，当天空开始亮起，我的姐姐告诉我她已经和我们的父亲谈过了。我盯着窗外。她说：“他会支付

戒毒所的费用——如果你愿意去的话。”

这句话带来的冲击比我整晚所做的一切都要沉重。在那之前，我一直认为这是一种私人的失败，是自律的缺陷。我一直试图在酗酒和使用可卡因的同时，维持一份工作、一段婚姻、一个孩子以及一段外遇。第一次，停止这一切变得可能了。我看着她说：好。

威肯堡——May 19, 2006

第二天早晨，我飞往亚利桑那州，入住了一家治疗中心。我在那里待了 7 周。

在那里期间，我给我的老板写了两封信：一封是正式的，另一封是 CONTINUED ON PAGE 166

约旦女王

约旦·罗斯（Jordan Roth）的公众生活始于一名房地产世家子弟，随后转型为赢得托尼奖的百老汇制作人。近期，他接连开启了多项新追求：高级定制客户、Instagram 展览主义者、行为艺术家，而现在，在瑞安·墨菲（Ryan Murphy）的认可下，他成了一名真正的好莱坞演员。玛丽莎·梅尔策（MARISA MELTZER）发问：这位制作人是如何让自己变成“作品”的？

在约旦·罗斯的工作室里，一群人聚集在一起为一件高级定制礼服进行试装。很难说具体有多少人，因为新的人员不断地进进出出，搬着鞋盒，小规模地聚集讨论他的头发是否应该盘成低发髻，或者成打地分发冰咖啡。房间里的气氛如此严肃，如此地聚焦于罗斯，以至于很难分辨每个人的角色。为雪儿（Cher）造型的帕蒂·威尔逊（Patti Wilson）在场，随行的一名助手正在记录；还有罗斯的私人助理，其上一份工作是在碧昂丝（Beyoncé）的公司 Parkwood；以及罗斯的社交媒体经理，一直在全程拍摄。设计师罗伯特·温（Robert Wun）本人不在现场，但他的脸通过 Zoom 从香港出现在笔记本电脑屏幕上，那里大约是 3 点 30 分。

“现在（重量）完全压在髋骨上，这感觉不怎么样，”罗斯对温说道，语气就像你在表达对某种已知不合适但还是尝试了的油漆颜色的不满。他们正在讨论温为 2026 年大都会艺术博物馆服装学院慈善晚宴创作的礼服。这将是罗斯第八次出席 Met Gala，而本次的着装主题“时尚即艺术”（Fashion Is Art），对于一个将生活视为表演的人来说，格外契合。温的作品是一件沙色的天鹅绒礼服，他建议且罗斯也同意这个颜色不对，最终将更换为雷云灰版本。礼服覆盖了罗斯的全身——脖子、手臂、手指——面料之多，在地面上堆积成池。礼服如此庞大，以至于在五月的第一个星期一，马克酒店（Mark Hotel）必须将罗斯房间里的床移走，以便容纳这件礼服、这座雕塑以及整个团队。今天，垂坠感不是问题。罗斯正在解决的是一个重达 35 磅的人形雕塑，它从礼服背面伸出，双臂环绕在罗斯的上半身——一个笼罩在他上方的无脸幽灵，某位扶手椅评论家将其比作 Spirit Halloween 商店里的某种东西。罗斯的灵感来自让-莱昂·热罗姆（Jean-Léon Gérôme）的画作《皮格马利翁与伽拉忒亚》。

在某个时刻，雕塑在罗斯瘦长身架上的安置方式被认为具有“外星感”。“我们已经在向外星人方向偏移了。我们需要远离外星人。我们不在《星际迷航》里，”罗斯说道，随后他捧起礼服的一些多余面料，说：“这是我的天鹅绒宝贝，”接着社交媒体经理要求他对着镜头重复一遍。“这是我的天鹅绒宝贝，”他再次轻快地说道，这次眼睛直视镜头。罗斯宣布，这件礼服需要一个名字。

“西西弗斯，”我喊道。他很喜欢这个名字。镜头转向了我。“但你是西西弗斯，还是那块石头？”我问。罗斯回答道：“嗯，这就是我的人生故事。”

“西西弗斯”最终将出现在不少于 10 条 Instagram 帖子中，内容涵盖从红毯影像到精心构思的影棚拍摄，从一系列第三方迷因（meme）反应，到几段纪录片风格的视频，每段视频都带有 Bravo 频道真人秀般的浮夸制作水准。（在其中一段视频中，罗斯指着头顶上疾驰而过的幽灵身影问道：“我背上有什么东西吗？”接着说，“愿上帝保佑坐在我旁边的人。”在另一段视频中，他问丈夫里奇·杰克逊：“我们是第一组在大都会博物馆搞‘三人行’的吗？”）就像罗斯所有的内容一样，其中等量地混合了极度的严肃、冷峻的讽刺以及奇妙的喜悦。他经常大笑，有时落泪。而且，他总是在 100 万名痴迷且困惑的追随者面前，像一个 50 岁的芭比娃娃一样穿衣脱衣。

今年春天，罗斯用两个两米高的金色迈拉（mylar）气球庆祝 Instagram 粉丝数达到 100 万，配文写道：“我深感感激我们找到了彼此，感激我们能共同走在这条探索之路上。”随附的另一段视频中，身着金色落地长外套的罗斯在向自己致敬，他告诉观众“你们在这里的陪伴帮助我表达自我”，随后是一段他身着一系列礼服亮相的慢动作精彩集锦。

杰克逊在描述丈夫时，喜欢引用麦当娜纪录片《真相或挑战》（Truth or Dare）中沃伦·比蒂的话：“她不想在镜头外生活，更不用说说话了。镜头之外没什么好说的。”“里奇把它称为‘露西与里奇秀’，”罗斯说，“他没说错。”

在大都会艺术博物馆舞会的内容发布完毕后的第二天，罗斯将发布一段视频，欢迎他的追随者前往威尼斯。在双年展开幕期间，他将在大运河畔的一座宫殿里进行一场个人表演。（去年，他作为行为艺术家的首秀是在卢浮宫这样一个顶级的场馆举行的。）接下来的一个月，这位百老汇高管将出席托尼奖和翠贝卡电影节，发布由史蒂文·克莱恩拍摄的《Purple》杂志封面幕后内容，并宣布他出演的瑞安·墨菲改编自布雷特·伊斯顿·埃利斯小说《碎片》（The Shards）的电影将于 8 月 5 日首映，这标志着他在多栖发展之旅中迎来了一个新的里程碑。可以说，他终于出名了。

像罗斯这样的人一直以来都在纽约自我塑造。罗斯身高 6 英尺 1 英寸（穿平底鞋时，尽管他从不穿），身为亿万富翁之子，他从一个书卷气的普林斯顿毕业生变成了获得托尼奖的剧场制作人，但他还想要更多。在过去的十年里，罗斯利用他的胆量（以及财富）塑造了一个网络人格，可以将其描述为马尔凯萨·卡萨蒂与鲁保罗的结合体。他在曼哈顿人中的知名度之高，以至于甚至成为了致敬或讽刺的目标：《绯闻女孩》重启版的创作者们写了一个名叫吉迪恩·沃尔夫的角色，他留着长发，偏好夸张的设计师服装，且男女装不分。（当我询问他的代表罗斯如何看待这一刻画时，她回答道：“他知道了，”并未进一步阐述。）而现在，罗斯再次转型，成为一名行为艺术家和演员。

他是一位尝试新媒介的新锐艺术家，还是我们晚期注意力经济中一种颓废的必然产物？或者两者皆是？

罗斯认为自己“相当开放”，但在数小时的采访中，他回避了许多关于他的财产、家庭，甚至他所居住社区的问题。尽管如此，一个像孔雀一样华丽的制作人的形象依然跃然纸上，他经历了一次彻底的蜕变。虽然许多同事和熟人都非常渴望以匿名方式谈论这些话题，但几乎没有人愿意署名。这或许反映了罗斯所激发的某种好感，或是某种局促不安。至少有一个人对我直言不讳地说道：“在美国，你竟然可以决定自己是谁，而且只要有足够的钱，你就能让它变成现实，这太疯狂了。”

透视：罗斯对所有流言蜚语的反击是，“指责他人不严肃，是自古以来让‘娇弱男孩’认清自己地位的方式。”身着 Dolce & Gabbana 毛衣。时尚编辑：Daniel Edley。

那么，罗斯究竟是一位戏剧制作人，一位时尚影响力人物，一位行为艺术家，还是一位电视演员？答案是：全部都是。而且他永不停歇。他是一位尝试新媒介的新锐艺术家，还是我们晚期注意力经济中一种颓废的必然产物？或者两者皆是？无论情况如何，他是一位文化征服者，而他才刚刚开始。

罗斯在纽泽西州北部长大，后来移居曼哈顿，他是史蒂文·罗斯（Steven Roth）和达丽尔·罗斯（Daryl Roth）之子，阿曼达（Amanda）之兄。他的家庭拥有一架私人飞机，并雇佣了一名司机接送他前往霍勒斯·曼学校（Horace Mann）。在普林斯顿大学期间，他学习哲学——他的论文主题是关于“欲望”的——以及戏剧。他告诉一名记者，在 1997 年大学毕业后，由于住在母亲挑选并协助装修的西村两居室公寓里，他陷入了所谓的“财富危机”。在同一场采访中，他回忆起一名小学同学曾告诉他，对方认为他本该送一份更丰厚的生日礼物。

这种富足的主要来源是房地产。史蒂文·罗斯通过其公司 Vornado Realty Trust 成为该市最大的房东之一，该公司拥有约 2000 万 平方英尺的纽约市商业空间（其中中城的现行价格约为每平方英尺 \$100）。今年 5 月，老罗斯在一次业绩电话会议上表示，“向富人征税”这句话可能“与某些令人厌恶的种族歧视词汇一样具有仇恨色彩”，并补充说，他的亿万富翁同僚们应该“受到赞扬和感谢”。不出所料，他长期以来一直是唐纳德·特朗普总统的心腹和支持者。（当被要求对此发表评论时，罗斯告诉我：“我父亲的朋友和政治是他自己的，我的则是我的。”）罗斯母系的背景在文化上则更为丰厚：母亲达丽尔是一位获得过普利策奖的戏剧制作人，其作品包括《八月：奥塞奇郡》和《证明》。（在 2026 年的托尼奖颁奖礼上，乔丹握着达丽尔的手，等待得知她是否能凭借《解放》获得她的第 14 次获胜。她赢了。）“传闻他的身价有九位数，这足以改变生活，但还不足以改变世界，”一位密切关注纽约市的观察人士推测道，尽管对“世界”的定义可能各异。（罗斯通过其代表拒绝确认其净资产。）

罗斯一直拥有真正的才智，而且至关重要的是，他拥有野心。大学毕业后不久，他参加了一部改编自《仲夏夜之梦》的剧作试镜，该剧后来被命名为《驴秀》（The Donkey Show）。这个角色需要穿着极短的短裤并涂抹大量身体闪粉，他说，这“不是我身体探索旅程中想要处于的状态”。相反，在 23 岁时，他帮助他们寻找剧院并将其上演——在

换句话说，他担任了制作人。《驴秀》（The Donkey Show）在百老汇外演出了六年。他曾短暂考虑过成为一名学者，但最终选择追随母亲的脚步，投身于剧场之中。正如一位百老汇业内人士所言，凭借其资金和母亲的人脉，他自动成为了圈内人，但由于实际上是通过出资才进入这个圈子，他同时又像个局外人。无论他是如何进入这个行业的，他都极具天赋并迅速取得了成功。他的首部百老汇作品是 2000 年复排的《摇滚恐怖秀》（The Rocky Horror Show），使他在年仅 25 岁时成为有史以来获得托尼奖提名的最年轻首席制作人。

在 2005, 罗斯加入了拥有五家百老汇剧院的公司 Jujamcyn，担任常驻制作人。次年他成为了副总裁，在 2009, 年（即他获得哥伦比亚大学 MBA 学位的前一年），罗斯成为了该公司的总裁兼共同所有者，以未公开的金额持有 50% 的股份。当他在 2013, 增加持股时，《综艺》（Variety）估计该交易金额在数千万美元之间。

“百老汇一直不知道该如何定义他，”一位长期观察者说道。舒伯特家族（The Shuberts）和尼德兰德家族（Nederlanders）——

MADAME BUTTERFLY 罗斯从寸头和中性西装到幻想高级定制的蜕变经历了十年的积累。现在，“我允许自己使用所有的画笔，”他说。

另外两个拥有大多数百老汇剧院的王朝——并没有类似的后代试图将亲力亲为的创造力与管理相结合。但罗斯对于自己的独特特质组合如何不仅能造福于自己的作品，而且能造福于整个剧场界，有着清晰的愿景。

“作为一名艺术制作人，乔丹·罗斯带来了一种极其独特的品味、才华、野心和真挚的热爱，”

林肯中心剧院（Lincoln Center Theater）艺术总监利尔·德贝索内特（Lear deBessonet）表示。“他知道如何关怀艺术家，并能为他们梦想的最宏大实现寻找路径。”

“当乔丹经营 Jujamcyn 时，他总是将标志性的创造力和对前瞻性作品的渴望带入到他呈现的演出中，”剧场导演及长期好友迈克尔·梅耶（Michael Mayer）说道。“在我看来，相比于那些主要关注作品房地产和财务视角的典型剧院所有者，他在艺术上的个人投入更多，而他确实能以惊人的技巧同时处理这两个方面。他在父母身边耳濡目染，而他的父母正是这两个领域的标杆。”

在罗斯的领导下，Jujamcyn 积累了如《哈迪斯镇》（Hadestown）、《红色皮鞋》（Kinky Boots）、《红磨坊！音乐剧》（Moulin Rouge! The Musical）以及广受好评的复排剧《天使在美利坚》（Angels in America）等热门作品，巩固了他在当代剧场之林中的地位。他曾获得七项托尼奖和四项戏剧之桌奖（Drama Desk awards）。《纽约时报》至少写过四篇关于罗斯的赞美特写，将其分别称为“百老汇的新力量”、“百老汇大人物”、“百老汇巨头”和“百老汇大亨”，并在另一篇报道中宣称他“重新定义了影响力”。《纽约》杂志称他为“行业传道者”，

而《南华早报》甚至称他为“前卫”。

作为一名制作人，罗斯并不只关注底线收益；他曾为希拉里·克林顿组织过一场百老汇筹款活动，又为拜登总统组织了另一场，并且在许多公益事业中默默地慷慨解囊。他以对艺术家友好且能为自己想要的剧目积极争取而著称。罗斯对微小细节的关注也到了不同寻常的地步。在Jujamcyn，他引入了体积更小、融化更快的冰块，以减少观众席中冰块碰撞的叮当声。在《贱女孩》（Mean Girls）演出期间，他通过让引导员举着写有“#跟我来（我是女士洗手间的排队线）”的标牌，解决了女性洗手间排长队的难题。制作人的工作可能是枯燥的；合作者指出，罗斯的方式向来是充满热情且极少抱怨。

2023年，Jujamcyn与英国的Ambassador Theater Group（现为ATG Entertainment）合并运营，罗斯目前仍担任该公司的董事会成员和创意总监，这想必为他带来了一笔巨额财富。两年后，据报道他以$20 million的价格卖掉了位于西村的前公寓，并购入了一栋联排别墅，屋内大量装饰有Braquenié的科罗曼德尔丝绸，这种丝绸的售价约为每码$600。他的居所中陈列着伊丽莎白·佩顿、弗朗西斯·培根和约翰·辛格·萨金特的画作；一件Lalanne的雕塑目前正出借给大都会博物馆。他将自己位于汉普顿的1899年故居重新命名为“LoveLee”，该住宅由设计附近“灰色花园”（Grey Gardens）的同一位建筑师设计，并曾接待过奥普拉·温弗瑞和皮特·布蒂吉格等嘉宾。

大约就在这个时候，他开始将他在剧院中运用的金钱、远见与热情的结合，同样应用于他的时尚穿搭。

直到十年前，罗斯还留着军装风格的圆寸头，通常穿着一件灰色、海军蓝或黑色的普拉达西装，搭配一件不扎进裤腰的衬衫，不打领带，顶端纽扣解开，脚穿运动鞋。2017年，在致力于升级托尼奖红毯期间，安娜·温图尔简单地问了《Vogue》的男装编辑迈克尔·菲卢兹（Michael Philouze）：“你不觉得乔丹应该穿古驰吗？”于是这两个男人便前往古驰。在那里，罗斯得到了两个选择：一套栗色礼服和一套背部绣有老虎的樱桃红丝绸西装。他穿上了后者，这在他心中开启了某种开关——一种近乎于阳刚之气的着装方式，一种不惜一切代价地赢的心态。而且他愿意为此买单。

设计师们很快接纳了他。“他明白，归根结底，你必须享受穿在身上的衣服，而且它必须具备幽默感——他极其讽刺，”Monse的联合创意总监费尔南多·加西亚（Fernando Garcia）说道，“和乔丹在一起永远不会有沉闷的时刻。他可以在一句话里从政治聊到《爱之岛》（Love Island）。”

对于罗斯来说，这也开启了另一扇窗。“在我刚开始注重着装的早期，当衣架上出现裙子时，我会意识到‘那是女装’……我也意识到这种界限开始消失。不再是女装或男装。而只是，那是我的衣服。”设计师艾里斯·凡·赫本（Iris van Herpen）表示，他是最令人愉快的客户之一。“我不认识任何像他这样穿衣的人——他对男性气质和女性气质的处理如此自由……在乔丹这里，宇宙是开放的。”

“我允许自己使用所有的画笔，”罗斯这样描述道。

最终，罗斯的外貌开始发生变化。他的身材变得更纤长，脸颊更削瘦，这得益于一种无麸质、无乳制品的饮食方案，例如，他会点Goop Kitchen的杏仁粉披萨，但会把上面的奶酪挑掉。无论是否穿着女装，他的整体效果都变得更加中性。

他把头发留到了肩膀以下，漂白了眉毛，并开始购买和穿着高级定制服装。无论是因为他自己的选择还是他人的设计，他很少出现在香奈儿（Chanel）、迪奥（Dior）等顶级时装屋的前排，而是支持高级定制领域中的另一个层级：如 Wun 和 van Herpen 等规模较小的设计师。他也不会订制那些某些 VIC（极重要客户）趋之若鹜的量身定制小裙装套装，而是选择最夸张的礼服。例如，罗斯在 2026 年托尼奖上穿着的 Maison Margiela 由 Glenn Martens 设计的羽毛印花礼服，并配有配套的面具和黑色 Tabi 分趾靴。他在座位上显得如此高大，以至于我对坐在他身后的提名演员尼古拉斯·克里斯托弗（Nicholas Christopher）感到同情。当被问到希望看到罗斯穿什么时，他的朋友、设计师 Thom Browne 打趣道：“一套灰色西装，”随后笑着补充道，“我喜欢他以此为乐的方式，以及他对这一切的认真态度。”

甚至时尚圈的年轻人也注意到了他。在档案级设计师精品店 Desert Vintage 工作、主修时尚设计的大学生里德·麦克维（Reid McVey）最初是因为罗斯在 Met Gala 上的造型而关注他的，但随后被他日常的极繁主义所吸引。“让我着迷的是他如何真诚地享受时尚，并且对此毫不掩饰，”麦克维说道，并指出他的风格与定义我们当代审美观念的“静奢风”（quiet luxury）截然相反。在汉普顿的一次由作家和百老汇人士共同参加的早午餐会上，话题转到了罗斯以及他所拥有的数百万美元

这里面交织着极度的严肃、冷峻的讽刺以及纯粹的喜悦，且分量相当。他经常大笑，有时落泪。而他的穿衣与脱衣方式，永远像个50岁的芭比娃娃。

可能都花在了时尚上。一位熟人跳出来为他辩护道：“听着，总得有人去买那些高级定制服。”

许多名流（VICs）喜欢分享他们的时尚之旅——在巴黎选购定制造型，然后穿着它们出没于各处——但罗斯（Roth）将他的内容创作流程化了。在Instagram上，他似乎发现自己最显著的天赋或许就是将注意力吸引到自己身上。

他的丈夫杰克逊（Jackson）是《护士杰基》（Nurse Jackie）的执行制片人，曾撰写过一本名为《像我一样同性恋》（Gay Like Me）的2020年育儿指南。他们育有一个儿子并共同抚养一名继子。在夜晚结束时，杰克逊通常是唯一一个帮他脱掉那些繁复造型的人。“这非常亲密，”罗斯说。即便如此，他还是会把相机对着镜子把这一幕拍下来。

这对伴侣于2003年相识，并于2012年在朱贾姆辛（Jujamcyn）的阿尔·赫希费尔德剧院（Al Hirschfeld Theatre）结婚，现场约有600名宾客，其中包括唐纳德·特朗普和梅拉尼娅·特朗普。（罗斯曾公开反对特朗普。）在整个蜕变之旅中，杰克逊一直陪伴在他身边——字面意义上地出现在几乎每一张红毯照片和每一场慈善晚宴中。

在经营Instagram时，罗斯明白，极尽奢华且肢体语言夸张的动态与近乎全裸的瞬间并置，会形成一种让人难以移开视线的奇异奇观。站在他那足有一室一厅大小的闺房里，罗斯看起来一半像《饥饿游戏》里的埃菲·特林克特（Effie Trinket），另一半像道格拉斯·瑟克（Douglas Sirk）电影里的家庭主妇。在一段视频中，他演示了如何混搭印花。“我认为任何东西都可以搭配任何东西，”他说着，将一件黑白波点蝴蝶结衬衫与黑白格纹裤、一件黑白粗花呢外套以及一个斑马纹手拿包搭配在一起。在另一段视频中，他展示了后颈上的一道伤口，那是被拉链压了一整晚造成的。他似乎总是能以自嘲的方式获得乐趣。

并非所有人都被他吸引。“他现在表现得如此极其不严肃，”一位认识罗斯多年的人说道，并不犹豫地匿名议论这位极具魅力的朋友。他们赶紧补充说，这是出于爱——他们觉得罗斯太聪明了，不应该这样，他投入了大量的金钱和精力在一些不需要他运用智慧且无法为他赢得更多托尼奖的事情上。其隐含的意思是，追求社交媒体名声对于网红来说没问题，但他为什么要这么做，目的是什么？这里没有明显的变现路径——也没有这种需求。他的同行们对此感到有些困惑。“乔丹并不满足于仅仅富有并拥有美好的生活，”一名纽约人讥讽道。或许，他们不会将他的大都会博物馆礼服命名为《西西弗斯》，而会将其称为《纳西索斯》。罗斯对此的回击是，“‘不严肃’的指控，是自古以来人们用来让‘娇俏男孩’认清自己位置的方式。”

对罗斯而言，他的整个生活就是一场表演，而这就是他的艺术。“我们每天都在进行表演行为，但我并不认为‘表演’这个词意味着虚伪，”他说。

他是在字面意义上谈论艺术。4月下旬我再次访问罗斯的工作室时，他正在排练一场独演，该演出将与2026年威尼斯双年展的开幕同步举行。威尼斯双年展被认为是艺术界的最高殿堂，是大多数艺术家穷尽职业生涯追求的目标。罗斯花费数月时间策划了一件行为艺术作品，灵感来自16世纪的画家、学生及提香的缪斯伊琳娜·迪·斯皮林贝戈（Irene di Spilimbergo），她曾居住在花之宫（Palazzo dei Fiori）。在与纽约表演空间（Performance Space New York）的合作中，罗斯的作品通过在迪·斯皮林贝戈绘画的等身乙烯基打印件上剪出拼贴孔洞，从而在画作背后露出他自己的身影。一台数码相机每隔六秒捕捉一次图像。

就像在大都会博物馆试装时一样，他的工作室里再次聚集了大约 15 人，其中包括动作指导朱莉娅·克罗克特（Julia Crockett），她正引导罗斯回忆他们之前排练过的剪裁动作和姿势。她专注地观察着，并用两人之间的简写指令大声提醒：“对……对……继续你的表演……很好，很好，太棒了……这个瞬间值得多停留一会儿，非常诡异。”

这部作品在威尼斯上演了两次，观众背景多样：瑞克·欧文斯（Rick Owens）的妻子兼缪斯米歇尔·拉米（Michèle Lamy）在场；画廊主格伦·斯科特·赖特（Glenn Scott Wright）和珍妮·格林伯格·罗哈廷（Jeanne Greenberg Rohatyn）也在；以及惠特尼美术馆（Whitney Museum）馆长斯科特·罗斯科普夫（Scott Rothkopf），而史蒂文·罗斯（Steven Roth）正是该馆的受托人。即便他被视为艺术界的闯入者，但罗斯拥有足够的影响力和人缘，以至于没有人会真正把这话挑明。一位被罗斯的投入所打动的双年展参与者告诉我：“他绝对倾尽了全力。但我旁边的那个女人竟然直接在刷他的 Instagram 动态，盯着他在大都会艺术博物馆舞会（Met Gala）上的造型看。”

罗斯表示，这部作品的目的是与绘画融为一体。“我一直思考的是这种‘客体-主体’的关系。所以我看着画作，然后我改变画作。我在被观看的同时，拥有观看的能力，而此时我正被注视着，”他说道。又是纳西索斯（Narcissus）。

KINKY BOOTS “我很想看他演《钢铁木兰》（Steel Magnolias），”《碎片》（The Shards）的共同主演凯亚·格伯（Kaia Gerber）说道。服装由菲拉格慕（Ferragamo）提供；鞋履由 Thom Browne 提供。

这场表演在一些顶尖艺术刊物上获得了一定报道。《纽约时报》在双年展的回顾报道中刊登了相关照片。《艺术论坛》（Art Forum）称罗斯为“一位高飞且引领时尚的意象创造者，他不仅是百老汇制作人的 GOAT（史上最强），更是大都会艺术博物馆舞会的红毯常客”。

这并非罗斯首次涉足艺术界——这个领域如此傲慢，以至于让时尚界显得格外亲切。罗斯在 2025 年凭借《不懈之美的激进行为》（Radical Acts of Unrelenting Beauty）在简历中增加了“行为艺术家”这一身份；在那部作品中，他在卢浮宫外的贝聿铭金字塔布艺复制品上方飞翔，而该场馆也启发了赠予特邀嘉宾的纪念品。在罗斯首次亮相之前，《纽约时报》发表了一篇基调乐观的报道，并配有罗斯身着白色长裙的视频。许多评论家仍然怀疑，这位艺术家的首秀，或者任何艺术家的首秀，是否配得上在卢浮宫展出。一位参加了罗斯担任主席的曼哈顿公益晚宴的人讲述了——接 168 页

《名利场》

2026

年度最佳着装名单

米凯拉·科尔小姐 (Miss MICHAELA COEL)

科尔曼·多明戈先生 (Mr. COLMAN DOMINGO)

雅各布·埃洛迪先生 (Mr. JACOB ELORDI)

帕洛玛·埃尔塞瑟小姐 (Miss PALOMA ELSESSER)

弗里达·埃斯科贝多女士 (Ms. FRIDA ESCOBEDO)

路易莎·雅各布森 (LOUISA JACOBSON)

亨特·谢弗 (HUNTER SCHAFER)

哈里·斯泰尔斯先生 (Mr. HARRY STYLES)

特亚娜·泰勒 (TEYANA TAYLOR)

安娜·韦扬特 (ANNA WEYANT)

纽约制造

在这个十年的首次尝试中，《名利场》推出了年度最佳着装名单。在这个千禧年的“咆哮二十年代”，许多事情发生了变化：

疫情将运动休闲风推向了那些令人难以置信且不恰当的场合，包括办公室和鸡尾酒酒吧；唐纳德·特朗普重返总统之位推崇了糟糕的品味——看看椭圆形办公室就知道了；而时尚界正处于一场为期两年的大洗牌之后，设计师们在不同品牌之间跳槽，成功程度各异。时尚正以惊人的速度前进，而且我们敢说，并非所有东西都非常出色。“静奢风”的兴起使得许多 T 台和网上的服装看起来大同小异。伪装成互联网流行语的保守主义（例如我们所指的“传统妻子” tradwife）让时尚倒退了几年，甚至几十年。

正如金句频出的伊夫·圣罗兰曾说过的：“时尚易逝，风格永恒。”或者我们可以参考特鲁门·卡波特，他写道，良好的风格在于“不过分着装”——尽管我们名单中一些极繁主义者可能会让他感到惊恐。因此，今年的名单旨在表彰那些不仅仅是擅长穿衣，或者不只是全身穿着由热情的公关人员提供之服装的人。我们的获奖者体现了一种理念：他们是虔诚的着装者，对美和自我重塑的渴望与其特立独行的品味一样强烈。入选者跨越了世代、职业和审美。他们对一件古董法国工装夹克或一对二手耳环的热情，与他们被高级定制的魅力所吸引一样深。他们是原创者，也是灵感来源——可以说，他们永远在灵感板（mood board）之上。

这 10 位获奖者以及随后的各类别入选者，是由《名利场》工作人员在经过数周的审议，从数百项建议中选出的。VF

特亚娜·泰勒 (TEYANA TAYLOR)

因为她为高级定制带来了活力，且大多由自己操刀造型

职业 演员，歌手

居住地 亚特兰大、纽约市 以及洛杉矶

标志性品牌 香奈儿 (Chanel)、汤姆·福特 (Tom Ford)、 Thom Browne、斯基亚帕雷利 (Schiaparelli)、 Ashi Studio

时尚热爱 珠宝、高级定制 以及紧致的腰线

年度最难忘造型 一件由 Veronica Leoni 为 Calvin Klein Collection 设计的脚踝长度卷边欧根纱大衣，搭配蒂芙尼 (Tiffany & Co.) 钻石

风格一词定义 不屈

造型师 本人

JACOB ELORDI (雅各布·埃洛迪)

因为他能让一个购物袋看起来像是一款 It bag（热门包款） 职业 演员 居住地 洛杉矶以及澳大利亚拜伦湾 标志性品牌 Bottega Veneta、卡地亚 (Cartier) 时尚热爱 古董工装、奢侈品手袋，以及将一本书塞进牛仔裤的后口袋里 年度最难忘造型 一件香奈儿 (Chanel) 女装西装外套，搭配白色长裤和黑色皮革系带德比鞋 风格一词定义 男友风 造型师 Wendi Ferreira 和 Nicole DeJulio

LOUISA JACOBSON

因为她能让皮革套装和圣女贞德式的盔甲都散发出超越性别的性感魅力 职业 演员

居住地 纽约市

标志性品牌 Tom Ford, Kallmeyer, Khaite, Eckhaus Latta

时尚热爱 一套极佳的西装或同样利落的肩线，再加上一副细长款太阳镜

年度最难忘造型 一件由 Dilara Findikoglu 设计的盔甲裙，点缀着硬币、安全别针和其他小饰品

风格关键词 大胆

造型师 Edward Bowleg III

2026 最佳着装名单

MICHAELA COEL

因为如此熟练地运用色彩与量感，需要一种冒险精神

职业 演员

居住地 伦敦

标志性品牌 Givenchy, Schiaparelli, Loewe

时尚热爱 色彩拼接，以及在各处点缀的额外面料

年度最难忘造型 一件朱红色垂坠上衣搭配紫色长裤，均由纽约新锐设计师 Colleen Allen 以天鹅绒材质打造

风格关键词 无畏

造型师 Nell Kalonji

2026 最佳着装名单

FRIDA ESCOBEDO

因为她明白，穿衣与设计建筑一样，是比例与数学的问题

职业 建筑师

居住地 墨西哥城 及纽约市

标志性品牌 Gabriela Hearst, Bottega Veneta

极简主义，干净的线条

一件由白色 T 恤和 Alaïa 橙色流苏裙拼接而成的单裙造型

平衡

造型师 自理

HARRY STYLES 因为他懂得短裤的力量，且知道如何打领带，有时两者兼而有之 职业 演员，音乐人 伦敦 Valentino, Dior, Celine, Prada, Adidas 在任何场合都穿跑步短裤 一条极短的短裤搭配一条巨大的领带，外加一件白色正装衬衫和一件西装外套，全部由 Charles Jeffrey Loverboy 设计 风格关键词 愉悦 Harry Lambert

PALOMA ELSESSER

因为她对待晚礼服、古董藏品或一条牛仔裤时，都拥有同等的自信与风采 超模 纽约市 Diotima, Marni, Alaïa 搜寻并穿着那些极其冷门的古董秀场单品 一件由设计师 Francesco Risso 为 2026 年 Met Gala 设计的礼服，由多件 1920 年代至 1940 年代的改造服装组成 大杂烩 Aly Cooper

HUNTER SCHAFER

因为没有一件漂亮的裙子是她不能穿出酷感的，也没有一个古怪的造型是她不能穿出美感的

职业 演员

洛杉矶

Prada, Schiaparelli

让自己看起来像一幅画，或以此为参考

一件覆盖着亮片和装饰物的金色半透明 Roberto Cavalli 礼服，搭配柔和的波浪卷发

魅力女巨头

造型师 Dara

ANNA WEYANT

因为没有人能像她那样如此洒脱地穿着 Marc Jacobs 的秀场单品 艺术家 纽约市及纳什维尔 Marc Jacobs 一种玩心 在 2026 年 Met Gala 上穿着的一套从头到脚像洋娃娃般的 Marc Jacobs 装扮 奇幻 自理

科尔曼·多明戈 (COLMAN DOMINGO)

因为他能以从容且坚定的态度驾驭所有服装，无论是亮片衬衫还是细条纹西装 职业 演员、导演

阳台照：VICTORIA STEVENS / AUGUST。 牛仔裤照：LUCA GROTTOLI。其余所有照片：GETTY IMAGES。

居住地 洛杉矶

值得关注的品牌 Valentino, Boucheron, Ralph Lauren

时尚热情 奢华与点睛之笔的闪耀

年度最难忘造型 一套由 Jacquemus 定制的深灰色细条纹西装，搭配超大号口袋方巾和一枚花卉胸针

风格关键词 强劲

造型师 Wayman + Micah

那些 风格永恒的人

汤姆·福特 (TOM FORD)

职业 时尚设计师 最难忘造型 福特经典之作：一件剪裁完美的黑色天鹅绒夹克和礼服裤，搭配领结和他标志性的太阳镜 时尚成就 重塑古驰 (Gucci)，以及他的黑色西装

DAPPER DAN

职业 时尚设计师 最难忘造型 一套白色三件式西装，搭配斑马纹衬衫和白色帽子 时尚成就 他对各种奢侈品牌标志进行不羁且具有开拓性的时尚重混与拼贴

妮可·基德曼 (NICOLE KIDMAN)

职业 演员 最难忘造型 一件由 Matthieu Blazy 为香奈儿 (Chanel) 定制的血红色亮片礼服。在 2026 年 Met Gala 的红毯上，当被问及礼服背后的故事时，她表示：“红色代表生命力。” 时尚成就 银幕上的多样化假发；银幕外的电影明星礼服

特蕾西·埃利斯·罗斯 (TRACEE ELLIS ROSS)

职业 演员 最难忘造型 一件 Pieter Mulier 为 Alaïa 设计的连衣裙，由一件白色超大号 T 恤和流苏裙组成，外搭皮夹克和酒红色紧身袜 时尚成就 总是率先将 T 台造型转化为日常着装的人之一

克洛伊·塞维尼 (CHLOË SEVIGNY)

最难忘造型 一件由中国设计师 Samuel Gui Yang 设计的露肩奶油黄连衣裙，带有高开叉和戏剧性的长裙摆（此处由她的儿子 Vanja 拿着） 时尚成就 纽约市最早的“It girl”之一

劳伦·圣多明戈 (LAUREN SANTO DOMINGO)

职业 Moda Operandi 联合创始人 最难忘造型 一件复古 Rochas 连衣裙和由 Olivier Theyskens 为该品牌设计的 2003 秋冬系列夹克 时尚成就 终极的当代社交名媛，最后一只优雅的天鹅，以及她被神话的卓越品味

伦尼·克拉维茨 (LENNY KRAVITZ)

职业 音乐人 最难忘造型 一套全丹宁造型：极紧身牛仔裤配同色背心，内搭彩色锁子甲衬衫，配上大眼太阳镜，以及摇滚明星必备的铆钉腰带 时尚成就 克拉维茨对个人造型的执着程度，甚至在健身时也穿着皮裤。

格蕾丝·琼斯 (GRACE JONES)

职业 歌手、模特 最难忘造型 一套由 Michael Rider 设计的深灰色双排扣西装，这位美国设计师来自巴黎 It 品牌 Celine 时尚成就 曾是设计师 Azzedine Alaïa 的缪斯，且是一位跨时代的模特

AMY FINE COLLINS

职业 记者 最令人难忘的造型 一套 Thom Browne 的粗花呢裙装，搭配一件灰色长毛短款夹克 时尚成名之作 对 Thom Browne 设计的忠诚，以及著有《国际最佳着装名单：官方故事》（The International Best-Dressed List: The Official Story）

LISA EISNER

职业 艺术家、珠宝设计师 最令人难忘的造型 一件亮绿松石色的旗袍剪裁连衣裙，带有银色金属织锦图案，外搭一件由 Bob Mackie 绒毛围巾制成的粉色羽毛夹克，并配以白色猫眼太阳镜 时尚成名之作 她自己的大胆手工艺术珠宝系列

ALESSANDRO MICHELE

最令人难忘的造型 他在罗马鹅卵石街道上行走时佩戴的田园风草帽和深红色天鹅绒裤子 时尚成名之作 在 2010 年代后期重振古驰（Gucci），并帮助定义了哈里·斯泰尔斯（Harry Styles）的个人风格

马克·雅可布斯

职业 设计师 最令人难忘的造型 一件由 Matthieu Blazy 设计的香奈儿金色粗花呢西装外套，搭配宽腿牛仔裤和网眼平底鞋 时尚成名之作 他就是马克·雅可布斯，而且他还登上了 2026 年《名利场》（VF）时尚特刊的封面

MIUCCIA PRADA

职业 普拉达（Prada）共同设计师兼 Miu Miu 创意总监 最令人难忘的造型 她在米兰普拉达 2027 春夏男装时装秀上穿着的棕褐色大衣 时尚成名之作 将她的普拉达转型为全球领先品牌——此外还创立了深受 It-girl 喜爱的品牌 Miu Miu；以及她无与伦比的珠宝收藏

GABRIELLA KAREFA-JOHNSON

职业 造型师 最令人难忘的造型 一个黑色香奈儿手袋、高跟鞋和胸衣，搭配白色吊带裙和一件敞开穿着的粉色纽扣衬衫，露出层叠的厚重项链 时尚成名之作 时尚领域的斜杠青年：作家-造型师-影响力人物

ANOK YAI

职业 超模 最令人难忘的造型 一件斯基亚帕雷利（Schiaparelli）的灰色帆布裁剪连衣裙，她在 7 月份为该品牌走完 Daniel Roseberry 的 2026 秋季高级定制时装秀后立即穿上了这件衣服 时尚成名之作 作为她这一代中最具突破性的模特之一

RACHEL TASHJIAN

职业 CNN 高级时尚记者 最令人难忘的造型 一件普拉达（Prada）毛衣和 Miu Miu 吊带裙，搭配复古粉色鸵鸟羽毛领、人造貂皮披肩和复古珠饰包 时尚成名之作 业内人士推崇的时事通讯《Opulent Tips》的作者

JULIA SARR-JAMOIS

职业 《英国版Vogue》特约时尚总监 最令人难忘的造型 红色亮片牛仔裤和一件简单的白色背心，背心的绿色滚边与她的绿色缎面细带凉鞋相呼应 时尚成名之作 在当今工作的时尚编辑中是最具吸引力的着装者之一

KENDALL JENNER

职业 超模 最令人难忘的造型 她在 2026 年《名利场》奥斯卡派对上穿着的由 Matthieu Blazy 设计的定制婴儿蓝色香奈儿连衣裙 时尚成名之作 她作为当今最高薪模特之一的地位，以及她对优质复古单品的偏爱

HAIDER ACKERMANN

职业 汤姆·福特（Tom Ford）创意总监 最令人难忘的造型 一套波点织锦黑色西装，搭配丝巾和花卉胸针 时尚成名之作 策划了提摩西·查拉梅（Timothée Chalamet）的一些最佳造型，包括他在 2022 年威尼斯电影节上穿着的红色露背上衣

专业人士

业内顶尖的着装者

RAUL LOPEZ

职业 Luar 设计师 最令人难忘的造型 他为 2026 春季 Luar 秀收尾而设计的激光切割黑黄西装 时尚成就 备受推崇的时尚设计师，也是先锋品牌 Hood by Air 的联合创始人

我们最古灵精怪、最具创新力的着装者

SPIKE LEE 职业 电影导演 最令人难忘的造型 一款路易威登（Louis Vuitton）篮球网手袋（含球）搭配一件热身衫 时尚成就 尼克斯队最忠实的名人粉丝

ALYSA LIU

职业 奥运花样滑冰运动员 最令人难忘的造型 一件由路易威登（Louis Vuitton）打造的抹胸礼服，配以巨大的千层裙摆，旨在模拟人体肌肉与组织，以及她用冰鞋在冰面上刻出的波纹 时尚成就 她标志性的带有漂白条纹的发型

COLBY MUGRABI 职业 创始人 最令人难忘的造型 一件像纸娃娃一样的马克·雅各布斯（Marc Jacobs）礼服，具有迪士尼公主的特质和错视画法绘制的细节 时尚成就 对高级定制拥有百科全书般的知识

职业 哈莱姆工作室博物馆馆长 最令人难忘的造型 一件在腰部有垂坠细节的礼服 时尚成就 在艺术活动中穿着最亮眼的服装

THELMA GOLDEN

HILTON ALS

职业 作家 最令人难忘的造型 一件蓝白条纹牛津衬衫，一件灰色毛衣，以及一件庄重、近乎皇室风格（尽管出人意料）且带有皮草点缀的黑色夹克 时尚成就 他那些非常漂亮的开襟羊毛衫

POPE LEO XIV

职业 天主教会最高领袖

最令人难忘的造型 甚至在就任教皇之前，曾被称为 Bob 神父的 Leo 就通过将简约的奶油色法衣与耐克（Nike）搭配，将其提升到了神圣的高度。时尚成就 Leo 保留了他的冷幽默随性风格，有时会佩戴棒球帽

ROSALÍA

职业 歌手 最令人难忘的造型 一件由 Seán McGirr 设计的、带有花卉提花图案的 McQueen 镂空连衣裙 时尚成就 让那些看起来古怪的时尚单品显得轻松且性感

SANDY POWELL

职业 服装设计师 最令人难忘的造型 经典靴子搭配修身黑色长裤，以及一件三维结构感的千鸟格西装外套 时尚成就 穿着一些非常酷且极具图形感的西装

YSEULT

职业 歌手 最令人难忘的造型 一套由哈里斯·里德（Harris Reed）定制的服装，特点是闪闪发光的金色紧身胸衣和垂坠领口 时尚成就 她总能给你带来惊喜。

BJÖRK

最令人难忘的造型 一件由 Louise Trotter 为 Bottega Veneta 设计的钩编流苏外套，搭配 Shinji Konishi 的狐狸头饰 时尚成就 成为音乐界最具原创性的着装者之一

RIHANNA & A$AP ROCKY

职业 歌手兼 Fenty 创始人；说唱歌手 最令人难忘的造型 在 2026 年 Met Gala 上，她穿着一件由 115,000 颗水晶珠制成的 Maison Margiela 礼服；他则穿着一件带有黑色缎面翻领的 Chanel 吸烟装长袍。 时尚成就 成为当今最擅长着装的两名音乐人

金·卡戴珊 & 诺斯·韦斯特 (KIM KARDASHIAN & NORTH WEST)

职业：真人秀明星及 Skims 联合创始人；卡戴珊与 Ye 之女 最令人难忘的造型：两人分别在威尼斯电影节穿着的连帽连衣裙和安全针连衣裙（搭配了巴黎世家包袋和铆钉靴，极具朋克风） 时尚成就：个人主义——其女如其母

埃马纽埃尔 & 布丽吉特·马克龙 (EMMANUEL & BRIGITTE MACRON)

职业：法国总统及第一夫人 最令人难忘的造型：在美法国宴上，他穿着黑色西装，而她穿着一件路易威登礼服。 时尚成就：可以说，是当今最精致的第一夫妇

斯塔夫罗斯·尼亚科斯 & 达莎·朱科娃·尼亚科斯 (STAVROS NIARCHOS & DASHA ZHUKOVA NIARCHOS)

职业：商人；企业家 最令人难忘的造型：他穿着一件简约的修身黑色西装；她穿着一件普拉达酒红色连衣裙，搭配同款刺绣夹克 时尚成就：她对普拉达的偏爱以及低调的良好品味。

劳·罗奇 & 赞达亚 (LAW ROACH & ZENDAYA)

职业：造型师；演员 最令人难忘的造型：他们在纽约弗里克收藏馆（The Frick Collection）参加路易威登 2027 巡航系列时装秀时穿着的服装——他穿着一件皮夹克；她穿着一件超短连衣裙，两者均来自这家法国时装屋 时尚成就：他们极具影响力的、引领潮流的造型师与演员合作伙伴关系

玛丽-凯特 & 艾希莉·奥尔森 (MARY-KATE & ASHLEY OLSEN)

职业：The Row 设计师 最令人难忘的造型：她们在纽约街头穿着的同款黑色大衣——以及带有使用痕迹的手袋 时尚成就：她们被大量拍摄的造型及其具有影响力的设计

摩根·斯佩克特 & 丽贝卡·霍尔 (MORGAN SPECTOR & REBECCA HALL)

职业：演员 最令人难忘的造型：在 Met Gala 派对上，他穿着蓝色衬衫并打领带塞进裤腰，她穿着一件若隐若现的连衣裙，两者均为 Haider Ackermann 为汤姆·福特设计的作品 时尚成就：彼此协调而又不至于过于雷同

提摩西·查拉梅 & 凯莉·詹娜 (TIMOTHÉE CHALAMET & KYLIE JENNER)

职业：演员；真人秀明星及美妆专家

最令人难忘的造型：在奥斯卡颁奖礼上，他穿着一套 Sarah Burton 为吉凡希设计的白色西装，而她穿着一件斯基亚帕雷利的红色连衣裙。 时尚成就：他们引发网络热议的铬心橙色同色系造型

瑞克·欧文斯 & 米歇尔·拉米 (RICK OWENS & MICHÈLE LAMY)

职业：Rick Owens 及其母公司 Owenscorp 的创始人 最令人难忘的造型：他穿着一件由自己设计的定制大衣；她穿着一件由绳索状材质制成的上衣和皮靴，同样出自 Rick Owens 之手 时尚成就：他们通过 Owenscorp 及其众多朋友和追随者所构建的独特宇宙

以浪漫、柏拉图式、亲情或其他方式联系的组合造型

莎拉·保尔森 & 霍兰德·泰勒 (SARAH PAULSON & HOLLAND TAYLOR)

职业：演员 最令人难忘的造型：在 2026 年《名利场》奥斯卡派对上，保尔森穿着 Matières Fécales 的造型，而泰勒则穿着一件克里斯蒂安·考恩的黑色织锦夹克。 时尚成就：两人似乎都没有为了迎合对方而穿衣，但不知为何，她们总是显得很协调。

崛起的新一代

吉塔里卡德拉富恩特 (GUITARRICADELAFUENTE)

职业：歌手 最令人难忘的造型：一件由乔纳森·安德森为迪奥定制的森林绿爱德华时代风格夹克，带有花卉刺绣，搭配宽松的浅色水洗牛仔裤，且内里未穿衬衫 时尚成就：将安德森设计的迪奥服装穿得非常、非常出色

奥德萨·阿齐昂

职业 演员 最令人难忘的造型 一套极具戏剧感的哈里斯·里德 2026 秋冬系列紧身胸衣与裙装礼服。这位演员与设计师是家族好友，因为里德曾与阿齐昂的姐姐就读于同一所学校。 时尚成名之作 她亲自打造自己的红毯造型。

希腊的奥林匹亚

职业 社交名媛、模特、都市名媛 最令人难忘的造型 从头到脚全部穿着德姆纳设计的古驰 时尚成名之作 一种仿佛从未见过阴天的气场

布鲁·艾薇·卡特 (BLUE IVY CARTER)

职业 碧昂丝的夏季实习生 最令人难忘的造型 为了让她穿上这件由 Pierpaolo Piccioli 设计的巴黎世家 (Balenciaga) 定制奶油色抹胸茶歇裙，Met Gala 修改了自身的年龄政策（而碧昂丝则修改了女儿的宵禁时间）。 时尚成名之作 身为她父母的女儿

奥利维亚·迪恩 (OLIVIA DEAN)

职业 歌手 最令人难忘的造型 一件由 Jack McCollough 和 Lazaro Hernandez 为罗意威 (Loewe) 设计的定制抹胸直筒礼服，全身点缀着精致的花卉鱼子酱珠饰 时尚成名之作 在她的突破之年，包括香奈儿 (Chanel)、Alaïa 和 McQueen 在内的时尚品牌都为她提供了定制礼服

切斯·因菲尼蒂 (CHASE INFINITI)

职业 演员 一件 Thom Browne 定制错视连衣裙，上面点缀着受米洛的维纳斯启发、由原色笔触形状组成的亮片 在 2025–2026 颁奖季一亮相便成为着装最佳的演员之一

卢克斯·帕斯卡 (LUX PASCAL)

职业 演员 最令人难忘的造型 一件由 Matthieu Blazy 为香奈儿 (Chanel) 设计的低腰连衣裙，带有灰色和白色的花卉装饰以及飘逸的裙摆 时尚成名之作 与她的哥哥佩德罗一样时髦，并在 2025 年 10 月走上了 Blazy 为香奈儿 (Chanel) 打造的首场 T 台秀

泰拉 (TYLA)

职业 歌手 她穿着一套 Matthieu Blazy 为香奈儿 (Chanel) 设计的套装表演单曲，将她热门歌曲《Chanel》中的歌词（“让她穿上香奈儿”）变为现实 以最迷人的方式尽可能多地展现肌肤

伊莎·安巴尼 (ISHA AMBANI)

职业 零售高管 最令人难忘的造型 一件由顶级工匠用纯金线编织的 Gaurav Gupta 定制纱丽，外加一件点缀了 200 多颗来自其母亲私人收藏的旧矿切割钻石和宝石的紧身胸衣 时尚成名之作 她对印度高级定制设计师的赞助

埃尔林·哈兰德 (ERLING HAALAND)

职业 足球运动员 在世界杯结束后，他参加西西里岛 Dolce & Gabbana Alta Sartoria 活动时穿着的白色丝绸西装和垂坠围巾 一名痴迷于 Birkin 包且留着金色男士发髻的运动员

牛仔客 (THE COWBOY)

詹姆斯·西蒙斯 (James Simmons)，现居纽约扬克斯，骑在 Falcon 身上。他这类人是艰辛赢得的美国优雅的化身，这种优雅被创造并被完美地演绎。服装由路易威登 (Louis Vuitton) 男装提供。

风格

之

美国

在文化最碎片化的时刻之一，这个国家今天看起来像什么样子？这是一面并非每个人都愿意举起审视的镜子。在国家进入第 251 年之际，《名利场》记录了一系列体现美国风格原型的当代人物。

时尚编辑 TONNE GOODMAN 摄影师 LUIS ALBERTO RODRIGUEZ

潮流之场

如今的酷小孩们，无论是网络红人 TikToker 还是多才多艺的 Z 世代创意人士，都像是对 60 年代最初“青年震荡”（youthquake）的一次致敬——那个时代赋予了我们性解放和超短裙。现场的一位摄影助理说：“这里的每个人看起来都像是我认识的、爱着的，或者讨厌的人。” 事实的确如此：他们生活狂放，穿着不羁。你永远无法通过他们的衣着来判断他们从事什么职业，或者他们是谁。但他们无所不为。这群喧闹的成员中包括一名 DJ、一名影响力人物、几位造型师、一名画家，以及一些职业尚未定义但风格犀利的人。 从左起第一位：裙装由普拉达（Prada）提供；鞋履由香奈儿（Chanel）提供。从左起第二位：夹克和牛仔裤由汤姆·福特（Tom Ford）提供；毛衣由 Celine 提供；靴子由 Fendi 男装提供。从左起第三位：吊带裙由 Miu Miu 提供。从左起第四位：连衣裙和鞋履由普拉达（Prada）提供。从右起第二位：上衣和裙装由斯基亚帕雷利（Schiaparelli）提供。

正装之势

《Pool House》的作者 Mary H.K. Choi 表示，穿着圣罗兰（Saint Laurent）的两件套让她感觉无坚不摧。记者 Jacob Soboroff 在主持他的 MS NOW 节目时通常不穿西装，但他在此时引领了风向。这两位，以及比如纽约市市长 Zohran Mamdani，代表了一种新型的权力着装者。西装由 Anthony Vaccarello 为圣罗兰（Saint Laurent）设计；衬衫由汤姆·福特（Tom Ford）提供。对面：风衣由 Celine 提供；西装和衬衫由 Loro Piana 提供；鞋履由 Brunello Cucinelli 提供。

纯净女孩

演员 Anna Van Patten 和 Phoebe Tonkin 是互联网时代定义的“邻家女孩”。承袭自 Carolyn Bessette-Kennedy 并在 20 世纪 90 年代极简主义的伟大传统中，“纯净女孩”（clean girl）成为了某种美学的新原型。Van Patten 身着 Alaïa 连衣裙；Tonkin 身着 Courrèges 连衣裙。

面孔

在蛋白质、多肽和“颜值最大化”（looksmaxxing）的时代，每个人都想让自己看起来焕然一新。瑞典出生的模特兼网络主播 Marlon Lundgren Garcia 拥有一种完美的面孔（以及 6 英尺 5 英寸的体魄），是整整一代男性追求的自我标杆。背心由古驰（Gucci）提供。

身材

“胸脯挺拔，我看起来像个甜点，”佛罗里达州说唱歌手 JT 在她 2024 年的热门单曲《Okay》中如此唱道。“40 英寸的钻饰，我们知道那妞是黑人，”她继续唱道，将美国“辣妹”（baddie）的丰满造型与精神内核融为一体。连衣裙由 Dolce & Gabbana 提供。

嬉皮士

“别忘了我曾是个嬉皮士，”Tonne Goodman 说道，此时 Fleetwood Mac 的《Everywhere》在工作室中回荡，一群自由灵魂在一些秀场设计款中尽情释放。正如麦当娜（Madonna）曾说过的，“你可以是一个精神追求者，同时也喜欢去普拉达（Prada）购物。” 从左起第一位：夹克由 Bode 提供。从左起第二位：外套由 Ann Demeulemeester 提供。从右起第二位：上衣和裤装由 Alixe of Bohemia 提供。从右起第一位：连衣裙由 Etro 提供。对面：从左起第一位：上衣由 Gabriela Hearst 提供。

天鹅

王朝是神话与光彩的结合体。塔莉塔·冯·富斯特登堡公主（Princess Talita von Fürstenberg）是一位出生于美国的德国公主，也是一名在洛杉矶和纽约成名的“It girl”，她向我们展示了码头尽头的绿光。礼服、手套及耳环由 Sarah Burton 为吉凡希（Givenchy）设计。

匠人

艾米莉·亚当斯·博德·奥杰拉（Emily Adams Bode Aujla）出生于亚特兰大，现居康涅狄格州和纽约，她是设计师及 Bode 的创始人。她为 21 世纪的传统主义者和热爱园艺的时尚达人们提供了一套全新的制服。服装由 Bode 提供。

学院派

千禧一代的学院派竞争心强、意志坚定，且不一定彬彬有礼。他们并非兄弟会成员，而是一群活泼好动的《名利场》作者和编辑，其报道范围涵盖政治、犯罪、风格及文化：林赛·安德伍德（Lindsey Underwood）、内特·弗里曼（Nate Freeman）、何塞·克里亚莱斯-温祖埃塔（José Criales-Unzueta）、伊莉丝·泰勒（Elise Taylor）、艾丹·麦克劳林（Aidan McLaughlin）、克里斯·默菲（Chris Murphy）、克拉拉·莫洛特（Clara Molot）、丹妮拉·蒂赫里纳（Daniela Tijerina）以及凯特琳·迪克森（Caitlin Dickson）。 从左起第一位：鞋履由 Bottega Veneta 提供。从左起第三位：服装由 Ralph Lauren 提供。从左起第四位：针织背心和衬衫由 Dries Van Noten 提供。从右起第四位：衬衫由 Ralph Lauren 提供；牛仔裤由 Celine 提供。从右起第三位：衬衫由 Alex Mill 提供。从右起第二位：毛衣由 Ami Paris（菱格纹）和 Rabanne 提供。从右起第一位：裙装由 Coach 提供。 更多致谢详情，请参阅第 175 页。

在作为时尚界最高产且最具活力的人物之一的四十年里，马克·雅各布斯（Marc Jacobs）经历了个人风暴和职业危机，并且每次都能以更强大的姿态回归。现在，随着他的事业进入下一个 era，何塞·克里亚莱斯-温祖埃塔（JOSÉ CRIALES-UNZUETA）将从这位“重塑之王”口中揭开完整的故事。

难以磨灭的马克

128 VANITY FAIR

摄影师 JEREMY LIEBMAN “……受害者，”马克·雅可布斯地宣布。他正坐在位于苏豪区（SoHo）办公室的展厅里，隔着一张长玻璃桌。在他身后，在光亮的黑色地板上的架子和桌子上，摆放着他的商业系列：钱包、皮革配件，以及采用柔和色调和亮色的新款 Scene 手袋。

“我一直以来就是时尚的受害者。”

“我不认为这是一件坏事，”他解释道。

现在是七月中旬，夏季最热的日子之一，他穿着芭蕾平底鞋、牛仔裤、一件拉链连帽衫和一件多口袋派克大衣，全部为黑色，且没有一件出自马克·雅可布斯之手。他不经常来这座城市——他大部分时间都住在纽约赖（Rye）的一栋 1955 年由弗兰克·劳埃德·赖特设计的房子里，该房产于 2019 年购入，此后一直处于装修过程中。但今天他在这里，并准备在实时对话中弄清楚，他究竟将走向何方。

五月有消息传出，在经过近 30 年的合作伙伴关系后，LVMH Moët Hennessy Louis Vuitton 将把 Marc Jacobs 品牌出售给品牌管理公司 WHP Global 与 G-III Apparel Group 的合资企业。作为交易的一部分，雅可布斯还将出售他在公司中剩余的股份。这一变化标志着时尚界一个时代的结束，同时也预示着马克·雅可布斯这个男人另一个时代的开始。

这里曾有过许多时代，以及许多个马克：马克·雅可布斯于 1984 年以一系列笑脸毛衣和波点单品首次亮相，宣告了他的视角：俏皮、年轻、高低混搭且乐观。在 90 年代，他将垃圾摇滚（grunge）的反时尚情绪转化为雪纺连衣裙和法兰绒质感的丝绸衬衫，镜像了库尔特·科本（Kurt Cobain）的穿着。你可以在 eBay 上找到一件点缀着蝴蝶（那个时代的标志性图案）的黑色西装外套，售价 $24,999.

这种对“当下”的敏锐洞察，正是他为何在 1997, 年成为路易威登艺术总监的原因，他推出了成衣系列，并为这个时尚界最知名的现代品牌之一奠定了基础，而这比赞达亚（Zendaya）和蕾哈娜（Rihanna）担任其广告代言人早了许多年。曾经，雅可布斯触碰的一切都会成为潮流。

随着他从神童成长为中坚力量，雅可布斯经历了丑闻和暂时的低谷，品牌与个人生活起伏不定——复杂的人际关系、药物成瘾——然而他总能恢复。如果说马克·雅可布斯有九条命，那么他可以说正处于第七条命。

在 63, 岁时，根据某些定义，雅可布斯并非他那一代美国设计师中最成功的——既不是最无处不在的，也不是最富有的——但他可能是最能给人启发且最受喜爱的。“一颗北极星，”正如索菲亚·科波拉（Sofia Coppola）所言。汤姆·布朗（Thom Browne）称他为“美国时尚的支柱之一”。而现在，有近 10 亿美元的赌注在于，他触碰的一切将再次成为潮流。

雅可布斯在巴黎：由 MARC JACOBS INTERNATIONAL / 24. 提供。婚礼：ROBERT FAIRER。苏格兰裙：RANDY BROOKE / WIREMAGE。与安娜·韦扬特合影：ERIK WEISS / WVD。与凯特·摩丝（KATE MOSS）身着棕色高领衫合影：通过 GETTY IMAGES 的 ROSE MARTMAN (5)。与索菲亚·科波拉合影：JUERGEN TELLER。VF 跨页：STEVEN MEISEL。

雷霆之日 在帕森斯设计学院（Parsons School of Design），马克·雅可布斯被评为年度设计学生。不久后，他将席卷纽约，并出现在由史蒂文·迈泽尔（Steven Meisel）拍摄的《名利场》页面中。

[...OMITTED...]

雅可布斯刻下印记

在接手 Perry Ellis 的最高职位后，马克·雅可布斯在二十五岁这个稚嫩的年纪便跃入了时尚界的顶级联赛。在雅可布斯首个——且极具标志性的——系列发布前夕，布拉德·古奇（BRAD GOOCH）追踪报道了这位即将成为风格巨擘的人物。

“所有设计师都必须意识到，只要你做出优秀的作品，你就能生存下去，”汤姆·布朗（THOM BROWNE）说道，“而马克一直以来都做出了优秀的作品。”

在他的节奏中 “我认为没有什么能超越那个系列了，”雅可布斯在谈到他在 1992 年震撼时尚界的 Perry Ellis 垃圾摇滚（grunge）系列时说道。摄影：欧文·彭宁（Irving Penn）。

“对我来说，现在很难在进行对话时，不已经在脑海中预演过这件事的不同方面了，”雅可布斯告诉我。这是他第一次就其品牌出售事宜接受的深度采访，该交易目前仍在进行中。在交谈时，他似乎仍在理清自己对此的感受。

“没有绝对的‘是’或‘否’，”他说。他并没有回答某个具体的问题，而是在沉思，认为他的品牌未来并没有一个单一的愿景。“它可以是这样，也可以是那样。我现在在哪里？我们现在处于什么位置？对于这一代人，或者那一代人来说，我们意味着什么？有太多的问题了。”

“而我没有任何确定的答案，”雅可布斯说着，吸了一口他的电子烟——那是看起来比较体面的可充电款，而不是那些在转售网站上购买他手袋的年轻人所青睐的一次性款。“我想，最简单的说法是我依然保持某种程度的乐观。”

从贝尔纳·阿尔诺（Bernard Arnault）和 LVMH 的手中，转移到 WHP Global 的主席兼首席执行官叶胡达·施密德曼（Yehuda Shmidman）——其时尚版块包括 Vera Wang、G-Star 和 Bonobos——以及 G-III 的董事长兼首席执行官莫里斯·戈德法布（Morris Goldfarb）——其投资组合包括 Donna Karan 和 Karl Lagerfeld——的手中，雅可布斯说，这或许将是一次关于“熟知的魔鬼与未知的魔鬼”之间的教训。

“当我见到叶胡达时，他似乎真的被‘马克·雅可布斯公司’这个概念以及我们所代表的东西所吸引，”雅可布斯说。施密德曼对此予以确认。“马克才华横溢，”他在从香港发起的视频通话中告诉我，“作为一名创始人，作为一名

“如果我不想回答，我就不会回答，”雅各布斯说，“但我不会对此撒谎……我觉得诚实的感觉很好。”

艺术家，而仅仅是文化的驱动者。在很多方面，他是独一无二的。”

根据双方的共同协议，WHP Global 和 G-III 将从 LVMH 手中收购马克·雅各布斯国际公司（Marc Jacobs International），估计金额至少为 8.5亿美元。（LVMH 不披露品牌业绩，但一位知情人士表示，在达成协议时，马克·雅各布斯是盈利的。）

“这是一个巨大的数字，而且是合理的，”施密德曼说。“这个数字巨大是有重大原因的。”

施密德曼看到了在全球范围内扩大马克·雅各布斯业务的“极大”前景。他说，WHP Global 目前拥有 16 个品牌，在 80 多个国家的零售额达到 100 亿美元 billion。“我们在与创始人及真正的时尚天才合作方面拥有良好的记录，”他说。

至少在账面上，施密德曼代表了像阿尔诺那样的人愿意与之做生意的那类企业。这就是为什么 WHP Global 是该交易中的收购伙伴。而另一方面，G-III 以及身为老派服装业者的戈德法布，在行业中的含义则不那么优雅：在批评家看来，这里是像唐娜·卡兰（Donna Karan）或哈尔斯顿（Halston）这样由伟大设计师创立的曾经伟大的品牌被“剥离灵魂”的地方。G-III 既是一家时尚公司，也是一台知识产权（IP）机器，除了拥有品牌外，它还经营授权业务。

这或许就是为什么雅各布斯觉得他与戈德法布的会面感觉有些不同。“我的意思是，并不是说他不兴奋，”雅各布斯说。“他看起来就像是一个截然不同的性格。”接着他说，“我认为，他只是来自一个不同的立场。”

“我认为存在足够的合理怀疑，认为这种干预永远不会有好结果，”雅各布斯在承认人们对新交易持怀疑态度时说道。“对于那些没有掌握所有事实、数据和证据的人来说，我认为这看起来就像是某种其他东西的配方。”换句话说，就是授权业务。

在施密德曼与 LVMH 敲定交易的同时，他又与戈德法布达成了一项协议，双方将各持有马克·雅各布斯 IP 的 50%。根据公开文件，G-III 将向这家 50-50 的合资企业投资 4.25亿美元，同时收购马克·雅各布斯品牌的运营业务并管理授权，这意味着在规模上将实现产品的激增。也就是说：你身边的零售商将出现更多马克·雅各布斯的产品。他预计交易最迟将于 10 月完成。

在我们的交谈中，戈德法布似乎意识到了这种顾虑，但准备好了反驳观点。他举例说，G-III 作为被许可方，与所有者 PVH 共同扩大凯文·克莱因（Calvin Klein）和汤米·希尔费格（Tommy Hilfiger）规模所取得的成功，以及他们目前对唐娜·卡兰的重新打造，证明了他们的承诺。“你会发现，独特的是，我们对每个品牌个体都保持着一定程度的尊重，”戈德法布在谈到他的方法时说道。

他希望雅各布斯能根据自己的意愿保持参与度：“他越愿意投入，我们就越愿意接受，”戈德法布说。“我们不是对手，而是他的合作伙伴。”

虽然施密德曼没有透露雅各布斯新架构的某些细节，例如他的薪酬或合同条款，但他强调雅各布斯的存在至关重要，且 WHP 和 G-III 继承了由 LVMH 建立的基础设施，雅各布斯将通过该设施继续担任创意总监。

“我们是接手一个由 LVMH 拥有之业务的受益者，”施密德曼说。“LVMH 具有极高的诚信，并且在与创始人、创意人才、时尚设计师合作方面无疑非常出色。马克具备以上所有特质。”

戈德法布知道过渡时期可能会令人不安。“我认为马克可能会对未来的走向感到有点紧张，”戈德法布说。“我认为如果你在 18 个月后再次联系马克，他会说，‘这里简直是天堂’。”

雅可布斯暗示，他的品牌与 LVMH 之间的关系并非乌托邦。“当人们听到 LVMH 时，他们听到的是一个奢侈品巨头之类的事情，但他们并不了解日常的运作，”他说。“我不想贬低他们，但（人们）不知道这些年来我们经历过多少位不同的首席执行官，也不知道那些由 [] 雇佣的人犯下的所有错误，”他说。“现实情况是，仅仅因为你是 ，并不意味着你在雇佣人员方面没有一大堆问题。”

“ 保留了我们，但在推动我们业务增长方面做了最少的事情，”雅可布斯直截了当地说道，尽管他并不因此责怪他们。他知道这个集团的优先级在于其皇冠上的明珠，比如路易威登和克里斯蒂安·迪奥。可以说，阿尔诺和 对雅可布斯一直很有耐心。在出售消息公布时，他深情地谈到了阿尔诺：“我永远感激贝尔纳·阿尔诺在过去 30 年里对我给予的支持、信念和信任。能与阿尔诺家族和 并肩工作是一项荣誉和特权。”但显然，这里存在着某种情绪，或许是一点伤感，或者至少是失望。

“毫无疑问，业界尊重马克， 也尊重马克，”施密德曼说道，并指出

VIBE SHIFT 在 5 月传出 通过一项联合协议将马克·雅可布斯品牌出售给 WHP Global 和 G-III Apparel Group 的消息后，雅可布斯 6 月在纽约公共图书馆举办的秀场活动被赋予了新的含义。

LOVE OF THE GAME “它在商业上从未成功过，”雅可布斯在谈到他的 T 台系列时说。“我们不在 T 台上赚钱。而且我怀疑真的有人能在那上面赚钱。”

阿尔诺关于出售的声明：“马克·雅可布斯是一位拥有罕见创造力和独特愿景的设计师，”阿尔诺当时表示。“他对时尚界的影响是不可否认的，我要衷心感谢他在过去 30 年里为品牌以及 集团的成功所做出的贡献。我相信这个新篇章将为马克·雅可布斯提供新的机遇，该品牌及其设计师将继续激励全球的消费者和创作者。”

“一个相当耐人寻味的事实是，阿尔诺先生本人以及 作为一个机构，对马克这个个体所表现出的尊重是令人难以置信的，”施密德曼说。“这非常有力量。”

针对雅可布斯在《名利场》中的评论， 的一名代表表示，“马克·雅可布斯品牌及其业务在近 30 年里一直是 集团的重要品牌。 与所有旗下品牌一样，一直以来在财务和人员方面为其——以及马克非常重要的 T 台秀——提供适当且充足的资源，这一点从其近期取得的巨大成功中可见一斑。”

时尚界一个庞大的支持群体希望雅可布斯能继续举办他的 T 台发布会，但普遍的焦虑在于，新东家可能会有不同的、更偏向商业的优先级。

“他真正擅长的是秀场，”造型师阿拉斯泰尔·麦金（Alastair McKimm）说道，他自疫情以来一直与雅可布斯合作。“除了 T 台，他不做任何系列。而这显然随后会渗透到文化中，不仅是公司的文化，更是整个时尚界的文化。”

雅可布斯表示，他已经向施密德曼和戈德法布明确表达了继续举办秀场的愿望。“他们说他们愿意，而我尽量信任那些说话算数的人，”雅可布斯说。

戈德法布向我保证，他们计划在可预见的未来保留雅可布斯的 T 台秀。

“我们不会终止这些，”他说，即便“这可能并非永久之计”。他认为雅可布斯在业务的创意方面起到了“关键作用”。“目标不是剔除人才、砍掉所有营销支出，然后靠着残存的底子勉强维持繁荣，”他说，“实际意图恰恰相反。”

雅可布斯如今的角色除了担任表演者，还要主导其香氛和美妆产品线，后者在今年早些时候获得了科蒂（Coty）的大规模投资并重新推出。（与 G-III 和 WHP 的交易包括香氛和美妆业务。科蒂将保留其许可，但现在将与该合资企业合作。）

“让我们坦诚面对这件事吧，”雅可布斯说。他的 T 台系列“从未在商业上获得成功。我们不在 T 台上赚钱。而且我怀疑真的有人能在那上面赚钱。”

在他看来，举办一场秀的意义在于“希望能激励、刺激并启发那些与马克·雅可布斯共事的人，包括编辑和时尚界人士。这会给他们带来能量。”

听到雅可布斯将这些不便公开的实情坦率地说出来，令人感到耳目一新，甚至是一种慰藉。

雅可布斯 1963 年出生于纽约市的一个世俗犹太家庭。他的父亲是一名经纪人，在他六岁时去世。之后，雅可布斯在祖母的抚养下成长于上西区；他描述自己的母亲患有精神疾病，且在很大程度上不参与他以及两个弟弟妹妹的生活。他在曼哈顿的艺术与设计高中就读，并在佩里·埃利斯（Perry Ellis）的推荐下进入帕森斯设计学院就读大学。1984 年，雅可布斯被评为年度设计学生，并凭借毕业系列获得了佩里·埃利斯金顶针奖以及切斯特·温伯格金顶针奖。

时尚界大亨罗伯特·达菲（Robert Duffy）对他作品的印象深刻，于是联系了雅可布斯。在尝试共同创立品牌数次之后，雅可布斯和达菲最终加入了佩里·埃利斯公司。在 1986 年埃利斯本人去世后，前者被任命为女装设计师，后者则成为了高管。

此后的经历已被记录在杂志人物特写、博客以及两部纪录片中。《马克·雅可布斯与路易威登》（2007）记录了这位设计师对这个历史悠久的法国品牌的大胆改造——在雅可布斯到来之前，该品牌被视为一家历史悠久的奢侈品旅行箱制造商。《马克·由索菲亚讲述》（2025）则通过一位密友的视角追溯了他的生活与职业生涯。

雅可布斯第一次出现在《名利场》的人物特写中是在 1989 年，当时他正准备为佩里·埃利斯举办首场秀。即便在那时，雅可布斯严苛的愿景以及他与所属行业之间的紧张关系就已显现。

“我必须投入时间，其他人也是如此，这是我最大的担忧，”雅可布斯告诉作者布拉德·古奇（Brad Gooch）。“唐娜·卡兰（Donna Karan）在创立自己的品牌之前在安妮·克莱因（Anne Klein）工作了多少年？拉夫·劳伦（Ralph Lauren）刚刚庆祝了他的 20 周年。我记得我 11 岁的时候就在看卡尔文·克莱因（Calvin Klein）的衣服，”他继续说道，“现在的媒体或买手不再给你这样的时间了。一切都追求即时满足。”（如今，拉夫·劳伦的经营年限已接近 60 年。）

1992 年，雅可布斯为佩里·埃利斯呈现了现在被人们熟知的“垃圾风”（grunge）系列。该系列普遍遭到评论家的抨击，时尚界的传闻认为这导致当时 29 岁的雅可布斯被解雇，但他对此予以否认。同样的史册现在将那场秀视为他职业生涯的定义性时刻之一，而雅可布斯本人对此从未怀疑。“那场秀和那个时代最能体现出一种感觉，即成为代表变革的更宏大创意浪潮的一部分，”雅可布斯如今说道，“我认为没有任何事情能超越那个时刻。”

雅可布斯在 2000 年代第二次改变了时尚的轨迹，他推出了如今已成为行业标准的艺术合作系列：首先是 2001 年春夏系列与斯蒂芬·斯普劳斯（Stephen Sprouse）的合作，随后是 2003 年春夏系列与村上隆（Takashi Murakami）的合作，两者均面向路易威登。 (这些“It bag”极其成功，以至于该品牌在 2025 年推出了村上隆系列的重新演绎版。) 这是雅可布斯的“沃霍尔时刻”——这些手袋就是他的“金宝汤罐头”。但在私下里，他的生活正陷入混乱。

雅可布斯第一次因为海洛因和可卡因成瘾进入康复中心是在 1999 年，那是应达菲（Duffy）的要求。2007 年，他再次进入康复中心，而这一次是他自愿的。雅可布斯知道自己必须成熟起来，但他是以那个时代的名人风格——如帕丽斯·希尔顿（Paris Hilton）、林赛·罗韩（Lindsay Lohan）、布兰妮·斯皮尔斯（Britney Spears）——那样成熟的：每一次失足都被小报大肆报道。而且他做得极具风范：有一次，《第六页》（Page Six）报道称雅可布斯邀请了通过 Grindr 认识的男性举办了一场乱交派对。他的回应是什么？他将一张自己赤裸上身的照片叠加在该应用的标志上并发布在 Instagram 上，眨眼示意与 Grindr 告别：“对于‘团体’聚会来说，这很有趣。”

另一次，他本想通过 Instagram 私信发给一名男性的裸照，结果不小心发到了自己的动态里。

“我记得 Grindr 那件事当时闹得很大，”他现在笑着说，“我的想法是，没错，我是一个喜欢做爱的男同性恋设计师。还能怎么说？”

他从未特别害怕反思。“坦诚让我感到兴奋，揭露别人会保守的秘密也让我感到兴奋，”雅可布斯说。“如果我不想回答，我就不答，”他说，“但我不会对此撒谎。接 174 页

与我同行

在她的最新专著中，格蕾丝·柯丁顿（GRACE CODDINGTON）回忆起她最亲密的知己、《名利场》（Vanity Fair）的前时尚总监迈克尔·罗伯茨（Michael Roberts）。

当我的第二段婚姻破裂时，我亲爱的朋友迈克尔·罗伯茨搬进了我位于伦敦富勒姆（Fulham）的大型棕色石屋——在那次分手之前，我和丈夫威利·克里斯蒂（Willie Christie）在那里共同生活了许多年。很快，迈克尔就开始带着我每晚出入夜店直到凌晨，回到家后我们一直清醒到黎明，策划、剖析，并八卦我们觉得谁有吸引力。不可避免地，我们两人往往会看上同一个男人。我把房子顶层的客房给了迈克尔，虽然只有短短三层楼梯，但他很少爬到一楼客厅沙发以上的地方。

大多数早晨，我会开车送他去他在《星期日泰晤士报》（The Sunday Times）的办公室，然后绕回到《时尚》（Vogue House）大楼下的停车场，那里有我每天像马戏团一样忙碌的工作在等着我。在那段时间里，我对他有了相当深入的了解。我们只真正闹过一次矛盾，那是他在自己的专栏里画了一幅非常不体面的我的画像。那是一张背影图，穿着一件非常、非常紧身的 Azzedine Alaïa 裙子，配文是：“某些时尚编辑应该更懂分寸……”那毫无疑问是我：巨大的卷发和一个大屁股！我的虚荣心受到了打击，但我从未放弃穿那条裙子。

摘自《格蕾丝：现在》（Grace: Now）© 2026 格蕾丝·柯丁顿。经 Phaidon 出版社许可转载。保留所有权利。

他本打算来住一周，结果住了九个月，直到我的离婚文件寄到，我们两人都必须搬走。甚至有传闻说他可能会被列为离婚案的相关人员——当然，这不太可能——但这给了我们很多笑料。迈克尔承诺，如果他真的被传唤出庭，他会献上一场如此夸张的表演，足以获得奥斯卡奖。

在我新公寓的壁炉周围，他画了四季图。迈克尔拥有无穷的创造力：他制作陶器，设计看起来像米罗（Miró）或毕加索（Picasso）作品的地毯，写诗，并为成人和儿童制作了许多精美的绘画和剪纸书。他曾为我制作的一部动画电影在《在英国乡村花园》（In an English Country Garden）的曲调上填词。在蒂娜·布朗（Tina Brown）的领导下，他帮助重新定义了《塔特勒》（Tatler），并先后担任《名利场》和《纽约客》（The New Yorker）的时尚总监。他将优雅与不羁等量地结合在一起，而他完成这一切仅凭纸张、剪刀和眼中闪烁的光芒。最令人惊叹的是，他代笔撰写了《格蕾丝：回忆录》（Grace: A Memoir），完全进入了我的角色并捕捉到了我的声音。虽然我热爱这本书，但那是一年充满挑战的一年，关于我的叙述和生活的细节，我们进行了许多争论和辩论。

迈克尔经常会消失一两个月，然后突然出现在巴西或西西里岛。在撰写我的回忆录期间，他还来到我在汉普顿（Hamptons）的乡村别墅陪我住，这样他可以连续几个小时地对我进行审问，抱怨我的厨艺，总之让我快要发疯。有时，我不得不开上我的 Mini Cooper，开车到路尽头大声尖叫。他会整夜不睡，开着屋里所有的灯，电视里大声播放着《辛普森一家》。但不知怎么地，书还是完成了。

我对迈克尔最后的记忆是在他移居的西西里岛庆祝 70 岁生日时。我飞过去给他一个惊喜。他容光焕发，戴着一个自己制作的纸皇冠，抽着一支粗大的雪茄，掌控着全场。他刚刚因对时尚的贡献被英国女王授予 CBE（大英帝国司令级勋章）。遗憾的是，他没能亲手接过这个奖项。

迈克尔一直陪伴在我身边——这本书是我在没有他的情况下尝试的第一个项目。我希望他会认可。VF

派对之后

海德·阿克曼（Haider Ackermann）将他的汤姆·福特（Tom Ford）视为一个极佳夜晚后的余韵。此时他身在巴黎，与一群亲密好友在一起，包括苏西·凯夫（Susie Cave）、凯特·摩丝（Kate Moss）、达芙妮·吉尼斯（Daphne Guinness）、克里斯汀·麦克梅纳米（Kristen McMenamy）、李·佩斯（Lee Pace）、濑子·克洛索夫斯卡·德·罗拉伯爵夫人（Countess Setsuko Klossowska de Rola）、贾斯汀·帕吉特（Justin Padgett）、安托万·瓦尔德纳（Antoine Waldner）以及斯科特·巴恩希尔（Scott Barnhill）。

一个独特的人

由 PERROTTE PRODUCTION 在实地制作。 详情请访问 VF.COM / CREDITS。

当海德·阿克曼在 2024 年收到汤姆·福特（Tom Ford）本人的电话，召集他来领导汤姆·福特（Tom Ford）品牌时，他感到很惊讶。但他并不觉得这很奇怪。

“在工作方面，福特先生和我之间一直存在这种暧昧，”他说。阿克曼，55，已经建立了相当体面的职业生涯，但直到现在，进入伟大设计师殿堂的机会才终于降临。

“接到福特先生的电话并听到他的声音，”那种深沉且富有共鸣的男中音，“这就是诱惑，”阿克曼说。“如果我想认真对待我的角色，我就必须接受这一点，并诱惑我们所有人。”

虽然这位定居巴黎、出生于哥伦比亚的阿克曼说自己“极其害羞”，但他的系列作品绝非如此。它们具有危险的吸引力，但阿克曼承认，时代已经发生了变化，不再是 90 年代福特将性感大胆地作为时尚来推销的时期。如今的品牌需要细微的差别才能产生挑逗感——裸露和挑衅已经太普遍了。但他的 T 台秀散发着欲望：模特们彼此游走，这种表演令观众着迷。自从福特本人之后，再没有其他设计师能如此从容地将色情张力融合在一起。

塞巴斯蒂安·法埃纳（Sebastián Faena）和我是在 3 月的 T 台秀后见到了阿克曼及其喧闹的随行人员。超模凯特·摩丝和克里斯汀·麦克梅纳米在争夺关注焦点。李·佩斯和达芙妮·吉尼斯则沉浸在他们的对话中。但在几杯马丁尼的帮助以及随后晚餐的承诺下，这群人坐下来拍了一张肖像照。混乱在阿克曼这里是常态。“一切都疯狂至极，”他说。但你不会听到他抱怨：“就像当你恋爱时，你根本不会计算时间。我希望我能长久地沉浸在爱中。” ——何塞·克里亚莱斯-温祖埃塔

哦，啦啦！

创意精英阶层中最奇幻的身分象征，是以一个等身铜制河马（兼作吧台）或一群水泥羊的形式出现。欢迎来到 Les Lalanne 的拟态世界，这是已故的弗朗索瓦-克萨维尔·拉兰（François-Xavier Lalanne）和克劳德·拉兰（Claude Lalanne）的作品之称。他们的设计征服了艺术市场，但当亿万富翁们执着于收集整套动物园时，Lalanne 能否保持这种魔力？玛丽莎·梅尔策（MARISA MELTZER）深入探索这个高价的幻想生物世界。

LALANNE!

动物之都 1967年，巴黎一名男孩将由弗朗索瓦-克萨维埃·拉兰（François-Xavier Lalanne）设计的一只巨大的黄铜犀牛当作书桌使用。犀牛的头部是一个存钱罐，硬币从耳朵处掉入。

STYLE 2026 143

去年四月，博恩比（Bocneby's）在其位于纽约布鲁尔大厦（Breuer Building）的总部举办了一场预览派对，旨在为收藏家让·德·冈兹堡（Jean de Gunzburg）和特里·德·冈兹堡（Terry de Gunzburg）的设计作品拍卖会预热。现场有弦乐三重奏在演奏古典音乐，配有拉兰定制的叶形鸡尾酒餐巾，以及摆满生蚝的生鲜吧。在错综复杂的房间中心，是本次活动的焦点——由法国艺术家克洛德·拉兰（Claude Lalanne）创作的一套15面青铜镜。它们在烛光闪烁的房间里排开，宛如凡尔赛宫的镜厅，但近看则带有超现实主义色彩，点缀着藤蔓、叶子、鸟类和内置的烛台；在布鲁尔大厦那冷峻、近乎阴森的粗野主义建筑风格映衬下，这些复杂细节显得更加醒目。

这套镜子最初是为

伊夫·圣罗兰（Yves Saint Laurent）的巴黎寓所设计的。2009年，德·冈兹堡夫妇在佳士得举办的伊夫·圣罗兰-皮埃尔·贝尔热（Yves Saint Laurent-Pierre Bergé）拍卖会上以约$2.200 万的价格购得。著名室内设计师雅克·格朗日（Jacques Grange）在向我讲述他如何影响好友兼客户特里·德·冈兹堡竞拍时说：“我当时就坐在她身边。”当价格飙升而她犹豫不决时，“我说，‘别停，别停，别停。’问题是这些镜子从未被安装。它们体积巨大，需要非常特定的房间。”如今，这套镜子再次被拍卖，估价高达1500万美元。一名在电梯里离开的女士大声质疑它们是否可以拆分出售。随行的一人笑着说：“只要价格合适，什么都行。”但她们都错了。如果你需要问这个问题，说明你根本没有机会。

第二天，拍卖室里弥漫着

紧张的气氛，纽约的所有名流（le tout New York）悉数到场——来自苏富比每个部门的员工，以及来自更广阔艺术界的每一位客户经理、每一家主要艺术咨询公司和每一家知名画廊——他们在此等待一场预料之中的轰动性交易。观众中的一个人数出有七位竞买人，并猜测任何真正想赢得作品的人，都会被建议出价远高于估价。与客户通话的专家们在出价不断攀升时一直举着竞拍牌。最终，这套作品以$33.500 万成交，这不仅是拉兰作品的最高拍卖纪录，更是有史以来任何设计作品的最高成交价。

“现在出现了一种‘拉兰热’。它已成为一种地位象征，”苏富比主席兼20世纪设计全球共同主管乔迪·波拉克（Jodi Pollack）表示，她主导了此次拍卖。“Alors，拉兰，拉兰，拉兰！它具有诗意，有趣且独特。”格朗日说，“在亚洲，在美国，每个人都想要拉兰。”拉兰狂热在今年春天延伸到了佳士得，其中一件名为《Ben之苹果》（Pomme de Ben）的作品——一个茎上坐着猴子的苹果——在五月以$8.7300 万成交，高于五年前的$5.200 万。十二月，一只由弗朗索瓦-克萨维埃·拉兰于1976年制作的河马形状吧台在苏富比以$31.400 万成交。主要的拍卖赢家可以选择公开其胜利，但大多数选择保持匿名。有传闻称杰夫·贝佐斯（Jeff Bezos）买下了那只河马。“我不能确认也不能否认，”波拉克摇了摇头，这个动作似乎强烈暗示他并没有买。即便在今年春季的 Met Gala 上，拉兰也进行了一次“懂的人自然懂”的客串：海莉·比伯（Hailey Bieber）穿着一件圣罗兰礼服，其灵感来自圣罗兰1969年秋冬高级定制系列的一款裙装，而该系列正是由圣罗兰与克洛德·拉兰合作设计的。

Les Lalanne（拉兰夫妇作品的统称）目前已不再需要任何个人收藏家的推介。其作品极易辨认，通常采用黄铜材质，多为家具或动植物雕塑，且带有浓厚的童话色彩：一张犀牛形状的书桌，一张鸟形床，一把骆驼形座椅，一把银杏叶形状的叉子。标题撰稿人喜欢用“动物园”和“野兽”等词汇来描述这些作品。自20世纪60年代起，法国时尚界就开始收藏 Les Lalanne 的作品，不仅是圣罗兰，还包括罗斯柴尔德家族——在他们1972年举办的超现实主义舞会上，Les Lalanne 既是出席嘉宾，也提供了服装设计，其中最著名的莫过于收藏家夏洛特·艾劳（Charlotte Aillaud）佩戴的那个带有凹槽的青铜胸像面罩。其他中期巴黎社交圈的关键成员也热爱他们的拉兰作品：包括阿涅利家族、诺艾尔家族、冈特·萨克斯、施伦贝格家族、卡尔·拉格斐、瓦伦蒂诺·加拉瓦尼以及塞尔日·根斯布尔；艺术收藏家如德·冈兹堡家族、简·霍尔泽以及建筑师彼得·马里诺也是早期的支持者。随后，大约二十年前，另一波年轻收藏家出现，帮助将这种狂热传播到了美国，例如时尚设计师里德·克拉科夫（Reed Krakoff）、Moda Operandi 联合创始人劳伦·圣多明戈（Lauren Santo Domingo）以及达莎·朱科娃（Dasha Zhukova）。

既然 Les Lalanne 的作品在拍卖行已被证明具有巨大的商业价值，那么问题在于，他们的遗产是否可以被视为不仅仅是设计，而是纯艺术。或许更重要的是，它们是否正在成为艺术界的“铂金包”——曾经作为品味的象征而被购置，而现在则成了任何有足够钱的人都渴望拥有的东西？或者，正如克劳德的长女卡罗琳·哈米斯基·拉兰（Caroline Hamisky Lalanne）在从法国打来的电话中所说：“现在，甚至有些并不认识任何富豪的人也想要一件 Les Lalanne。”

弗朗索瓦-克萨维尔·拉兰（François-Xavier Lalanne）出生于1927年，于20世纪40年代后期开始在卢浮宫的埃及和亚述展厅担任守卫。但这仅仅是一份日间工作——他是一名艺术家，在蒙帕纳斯拥有一间工作室，就在康斯坦丁·布朗库西的隔壁，曼·雷也曾在那里工作。20世纪50年代，弗朗索瓦-克萨维尔在一家建筑事务所工作，克劳德的丈夫当时也在那里工作。两人于1952年开始私情，并于1967年结婚，这段关系为克劳德带来了三个女儿，为弗朗索瓦-克萨维尔带来了一个女儿。

这家人住在法国巴黎南部的尤里（Ury），靠近枫丹白露（Fontaine-bleau），那里以其皇宫和近乎神秘的

狂野与羊毛

从顶部起顺时针方向：1976年，弗朗索瓦-克萨维埃和克洛德·拉兰坐在他们家附近一个沙石矿场的骆驼上；瓦伦蒂诺·加拉瓦尼在瑞士格施塔德与他的羊群在一起；伊夫·圣罗兰（右）正在调整一件采用了克洛德设计的胸甲的1969年冬季系列礼服。对面：一张由弗朗索瓦-克萨维埃拍摄、并装在克洛德制作的相框中的克洛德肖像照。

进一步思考

从左上角起顺时针方向依次为：为圣罗兰（Saint Laurent）和皮埃尔·贝尔热（Pierre Bergé）设计的一组镜子；1982年塞尔日·根斯布尔（Serge Gainsbourg）与克劳德（Claude）的一件雕塑合影；克劳德为《巴黎评论》（The Paris Review）创作的素描；2011年里德·克拉科夫（Reed Krakoff）的女儿在他们东汉普顿家中羊群间玩耍；2009年位于纽约公园大道的克劳德作品《纽约苹果》（Pomme de New York）与弗朗索瓦-克萨维尔（François-Xavier）的作品《夜鸟》（Oiseau de nuit，大型）；2006年伯格多夫（Bergdorf's）橱窗中的一只羊；冈特·萨克斯（Gunter Sachs）在格施塔德的泳池。

林地。他们先是买了一栋房子，然后买了街道另一侧的房产，将他们的院落变成了几乎像农场一样的地方，拥有许多小型石建筑，包括克劳德和弗朗索瓦-克萨维尔的工作室，以及一个大花园。他们的雕塑散落在室内外各处，有一只青铜的细长鹿可以坐在火炉前，花园里则有巨大的真人大小的百合花雕塑。但也有平庸之作：其中一人因为单纯需要而制作的一个青铜纸巾架。

克劳德使用镀锌材料，这意味着将有机材料涂上铜或青铜，然后将其浸入电镀浴中，电镀过程会烧掉有机材料，留下原物体的金属化版本。她会从自己的房产中收集树枝或叶子，将每一件分别放入电镀浴中，然后像圣罗兰镜子组那样，将作品一件件组装起来。弗朗索瓦-克萨维尔精通焊接，但他也使用粘土和石膏模具进行雕塑，然后铸造他那些巨大的、通常是动物形态的作品。区分他们作品的一个简单方法是，他的作品大多体量巨大且由动物组成，而她的作品则较小且更细腻，灵感来自植物世界。“他们整天工作，助手们在早晨到达，有时会工作到深夜，然后去巴黎吃晚餐。他们从未休息，”卡罗琳（Caroline）说道。

或许最令人瞩目的是，在那个战后时代，很少有女性（更不用说艺术家同行的妻子）能获得应有的认可，而克劳德·拉兰（Claude Lalanne）本身就是一名雕塑家。“弗朗索瓦-克萨维尔没有必要也不感兴趣去掩盖她或将她边缘化。将他们的作品称为‘拉兰夫妇’（Les Lalanne）是他的主意，”常驻巴黎的独立策展人保罗·B·富兰克林（Paul B. Franklin）表示。“她不会让身为母亲或结婚这件事使她脱轨。这一切都有其空间。但这并不意味着这很容易。”特里·德·冈兹堡（Terry de Gunzburg）对此表示赞同。“也许克劳德对于未能被认可为一名重要艺术家更为敏感。弗朗索瓦-克萨维尔则心态更超然。他们是工作狂；没有什么事情是偶然发生的。”

不久，克劳德开始尝试更大规模的创作。她之前一直制作小型作品，如餐具和项链，在60年代，她开始拓展领域，制作真人大小的人像铸件，通常邀请朋友和家人担任模特，包括怀孕期间的女儿卡罗琳。

拉兰夫妇不仅在对抗50年代的家庭主妇浪潮，他们也在逆时代艺术的主流而行。他们没有创作抽象作品，而是创作了一些更多承袭于前辈超现实主义者的作品。而且，他们与时尚界的联系在当时并不被视为高端艺术。在20世纪60年代，拉兰夫妇为巴黎的迪奥（Dior）设计橱窗，这也是他们最初结识圣罗兰的地方。“她很现代，非常幽默，热爱诱惑他人，富有魅力，化好妆，去吃晚餐……她是个真正有个性的人，”迪奥的首席传播与形象官奥利维尔·比亚洛博斯（Olivier Bialobos）说道，他在几十年前结识了拉兰夫妇。他记得有一位医生告诉她要戒烟，于是她决定戒烟，但仅限于室内，并将香烟藏在沙发垫下面。

那是一种温暖而有趣的乡村生活方式。“就像任何一对夫妇一样，他们也会吵架——我觉得他们竟然会吵架这件事很有趣，”他们的朋友兼收藏家简·霍尔泽（Jane Holzer）说道。他比较内敛、善良，喜欢讲笑话；而她则更加直率，是个享乐主义者。“他们就是他们自己，整天工作，吃得很好，”霍尔泽说。每个谈到在拉兰（Lalanne）家中度过时光的人都会提到食物：克劳德（Claude）最爱的野草莓、优质奶酪、香肠，以及大量的葡萄酒。“克劳德的酒量能把男人喝趴下，”霍尔泽补充道。“有一次晚上我们先从伏特加开始，我真的不知道她喝了多少。然后又喝了几瓶极好的红葡萄酒，她竟然一点都没醉，我想她当时已经 92 岁了。我的意思是，这就是我的偶像，太厉害了。我喝三杯酒就得趴在桌子底下了！”关于他们酒量惊人的故事层出不穷。“他们两个都非常健谈，是极佳的陪伴者，而且他们觉得干掉两瓶葡萄酒根本不算什么。而我当时在想，等一下，我得爬回家才行，”马里诺（Marino）说道。

“那么，拉兰，拉兰，拉兰！它是诗意的，它是有趣的，它是独特的。在亚洲，在美洲，每个人都想要拉兰。”

—雅克·格朗热（JACQUES GRANGE）

GAINSBourg 卷心菜头男人！

羊群之海

顶部：由 Claude 设计的独特 Végétale 床，作为保琳·卡皮达斯（Pauline Karpidas）2025 年在苏富比（Sotheby's）展出的部分作品。从左至右：“羊站”（Sheep Station），一个展出 25 件弗朗索瓦-克萨维埃（François-Xavier）标志性环氧树脂石和青铜“绵羊”（Moutons）的 2013 年展览；甘斯堡（Gainsbourg）1976 年的专辑《L'Homme à tête de chou》，封面艺术展示了 Claude 的一件超现实主义青铜雕塑；一张罕见的 20 世纪 70 年代海报，金纸上印有弗朗索瓦-克萨维埃的犀牛。对面：弗朗索瓦-克萨维埃的河马吧台。

乡村别墅的拜访是一种销售方式，或者是赠礼方式。“我会去拜访他们，看到一些美丽的东西，然后就深深爱上，并请求对方允许。我非常有礼貌。也许这就是问题所在，”霍尔泽（Holzer）说道，他就是这样得到一只毛茸茸的羊的。如果你运气特别好，在拜访期间还能获得一件定制作品。Claude 有一个名为 Pomme Bouche 的系列，是一个带有模特嘴唇铸模的苹果。里德·克拉科夫（Reed Krakoff）和他的妻子德尔菲娜（Delphine）曾为此而坐模。马里诺（Marino）也试过，但结果更糟糕。“她为巴黎、伦敦和纽约最著名的女性都做过，她说：‘我很想给你的嘴唇做模，’”他回忆道，“她用刮刀在我的嘴唇上涂了凡士林和热蜡。她说：‘这太尴尬了，但我从未给有胡子的人做过。’我花了两个小时用蒸汽水清洗，胡须里残留的蜡持续了三周。”他认为这是她制作的最丑的一件；他现在仍把它放在餐桌上。

“他们所做的事情如此不同且新颖，因为他们过去直接向上流社会家庭销售，这完全打破了常规，”德·冈兹堡（de Gunzburg）说道。早期的收藏家是拥有大量文化资本的人。他们是品味引领者。即便最严厉的批评者认为 Les Lalanne 仅仅是社交名媛收藏的装饰品，但名人的支持对他们的职业生涯大有裨益。“在他们的作品处于雕塑与设计交叉口、仍可能被视为非传统的时候，这有助于使其实践合法化。更重要的是，它产生了一种涟漪效应：在如此苛刻的收藏中看到这些作品，自然激发了其他收藏家、爱好者和机构的好奇心与兴趣，”苏富比驻巴黎主席兼全球设计共同主管弗洛伦特·让尼亚尔（Florent Jeanniard）表示。

作家们喜欢用“动物园”和“野兽”这样的词来描述这种童话般的并置：犀牛形状的办公桌，鸟形床，骆驼形座椅，银杏叶形状的叉子。

这对夫妇确实拥有真正的艺术界拥趸。他们在巴黎由画廊主亚历山大·约拉斯（Alexander Iolas）代理，约拉斯还与勒内·马格里特（René Magritte）、马克斯·恩斯特（Max Ernst）和安迪·沃霍尔（Andy Warhol）合作。约拉斯在 1967 年在芝加哥艺术学院组织了他们在美国的首次展览。1976 年，伦敦的白教堂美术馆（Whitechapel Gallery）通过一场名为“驯化野兽与其他生物”（Domesticated Beasts & Other Creatures）的 Les Lalanne 展览，提升了他们在英国的知名度。

在纽约，马里诺从 80 年代中期开始收藏他们的作品，当时他花 $45,000 买了一套鳄鱼椅。他指出，那时可能便宜一些，但“它们从未廉价过”。他认为这些艺术家成功的关键在于其作品极易融入生活。“鳄鱼椅比杜尚的小便池更具美感。我的客厅里没有那种东西，但我有鳄鱼椅，”他说，并补充道，“我因为将它们推向大众而闻名，并且是他们最大的收藏家。”

尽管许多人都自认为是对拉兰夫妇（the Lalannes）如今走红的原因，但只有马里诺（Marino）足够勇敢，愿意用自己的名誉为这一记录做担保。他的南安普顿家中散布着他们的作品，室内35件，室外20件，其中包括一套餐具和一个配有睡莲叶的青蛙喷泉。（尽管拥有艺术造诣，但拉兰夫妇并非总能关注细节。另一件被运往纽约的作品，其水泵接线是按照法国电压设计的。）询问他最喜欢哪一件，就像是在问他最喜欢哪个孩子一样，但由于马里诺只有一个女儿，所以这个问题要简单得多。经过思考，他决定自己最喜欢的是一件他曾要求克劳德（Claude）在某一年给他带来惊喜的作品，而她为他交付了一把由青铜绣球花制成的长凳，灵感源自他的花园。

在克劳德生命的最后阶段，马里诺每个周日都会给她打电话，聊各种琐事。他给她下的最后一个订单是巴黎白马酒店（Cheval Blanc hotel）的一座楼梯。弗朗索瓦-克萨维尔（François-Xavier）于2008年在乌里（Ury）的家中去世，而她于2019年在枫丹白露（Fontainebleau）去世。尤其在她去世后的几年里，她们的女儿之间似乎关系紧张。一个迹象是，多萝西·拉兰（Dorothée Lalanne）和玛丽·拉兰（Marie Lalanne）分别委托拍卖了不同的收藏——多萝西在2021年、2022年委托了苏富比（Sotheby's），并在2024年委托了佳士得（Christie's）；而玛丽则在2022年委托了佳士得。可以想象，分割一份价值不菲的遗产以及关于死后如何运营的无数决定（例如是否授权品牌名称或制作复制品）所带来的压力。她们是希望专注于保护，像唐纳德·贾德（Donald Judd）的遗产那样，还是希望进行无数的当代合作，像基思·哈林（Keith Haring）的遗产那样？霍尔泽（Holzer）在观察这对姐妹后表示：“在[父母双方]去世之前，她们之间的关系要友好得多。你知道金钱会对家庭产生什么影响。”她们自己的家人也并不否认这一点。“金钱买不到幸福，”朱莉·哈米斯基（Julie Hamisky）说道，她是卡罗琳（Caroline）的女儿、克劳德的孙女，她也成为了一名使用相同技术的青铜艺术家。“在[克劳德]去世后，这对每个人以及他们的关系来说都是一次巨大的冲击和混乱。”

从20世纪60年代他们以“Les Lalanne”之名开启艺术生涯之初，直到20世纪90年代末，拉兰的作品被一小群但具有影响力的人收藏，但到了2000年代中期，其市场变得更大且更加全球化。原因之一是纽约市的两场重大装置展：一场是在公园大道（Park Avenue）举办的展览，将他们的作品置于摩天大楼之间的室外；以及“羊站”（Sheep Station），一个在切尔西（Chelsea）一家加油站展出的水泥羊装置。2009年的圣罗兰-皮埃尔·贝尔热（Saint Laurent–Pierre Bergé）拍卖会将价格和知名度推向了新高度。历史上，弗朗索瓦-克萨维尔那些大型的、以动物为主题的作品售价高于克劳德的作品，但镜子的售出使他们的作品价值基本持平。

目前拉兰作品的价格——这是否是一个艺术市场泡沫？——造成了一种局面，即收藏家们渴望证明自己是早期买家，以表明他们并非单纯的趋势追随者，且没有支付过高价格。达莎·朱科娃（Dasha Zhukova）拥有一件1968年的多形猫，这是一个幻想风格的猫形雕塑，两侧可以像翅膀一样打开。她已经拥有它大约17年了。“我把它当作吧台使用，”她说，“每个人看到它都会有反应。它绝对让人感到沉浸，同时兼具理智与情感。如今的收藏家，尤其是年轻收藏家，并不真正区分艺术与设计。他们将两者视为同一场文化对话的一部分，而拉兰的作品恰好处于这个交汇点，模糊了设计与当代艺术之间的界限。”

劳伦·圣多明哥（Lauren Santo Domingo）拥有一辆河马吧台车，并向人们解释说她的是在90年代中期购买的。“我们不是那些支付天价的人；这头河马在我们的家庭中已经陪伴了很多年。每张圣诞照片里都有它。运费可能比作品本身还贵，”圣多明哥说道，“如果传闻属实，这件作品是我岳父母在乡村前往拉兰（Lalanne）家中共进午餐并喝了很多白葡萄酒时买下的。在这次愉快的午餐结束时，购买一件作品是惯例，而这一次买的是一头等身大小的河马。”她最近发布了一张用它来盛放鱼子酱和鸡尾酒的照片。她的家族在花园里还养了几只拉兰的水泥羊。

这些羊（包括室外的水泥材质和室内的羊毛材质）可能是他们创作的最具辨识度且最广泛流通的作品，其转售价值从二十年前的 $250,000，到德·冈兹堡（de Gunzburg）拍卖会上的一对高达 $2.500 万 不等。冈特·萨克斯（Gunter Sachs）在圣莫里茨宫殿酒店的客厅里就有一群这样的羊。麦迪逊大道的一家精品店橱窗里摆着十几个显然是赝品（或许更礼貌的说法是“灵感来自”）的作品。迈克尔位于曼哈顿中城的餐厅吧台区域曾放置过一只真品多年，但在几年前被移走清洗后便再未出现。

这些羊变得像卡地亚（Cartier）Love手镯一样无处不在。或者说，也许并非如此普遍，但类似于那面价值 $10,000 的、波浪形荧光粉色的埃托雷·索特萨斯（Ettore Sottsass）Ultrafragola镜子——现在这面镜子的仿制品如此之多，以至于花大钱买一面真品几乎让人感到尴尬。或者想象一下，如果买错了拉兰的作品，却向画廊汇款数十万甚至数百万美元。一位拥有艺术硕士学位的、毫不掩饰其傲慢之心的自负者，在看到一个暴发户家中一件次要的弗朗索瓦-克萨维尔（François-Xavier）动物雕塑照片后，轻蔑地表示对方本该更有眼光，或者至少应该得到更好的建议。这位收藏家本该买一件克劳德（Claude）的作品，因为那更能体现品味，或者买一件弗朗索瓦-克萨维尔的主要作品，比如吧台车。一位不喜欢拉兰或不喜欢被拉兰吸引的那类人的艺术顾问表示，他们最差的作品

没有任何概念内涵。“它们只是在房间里看起来很漂亮且得体的装饰品。”一位资深收藏家承认：“很多作品并不出色，有些甚至很俗气。”他叹了口气说：“看到这么多亿万富翁仅仅为了购买而购买，真是令人失望。”另一位拉兰作品的所有者在将作品安装在家里时，被一名家人告知：“贾科梅蒂（Giacometti）属于城市，而拉兰属于乡村。”在某些拉兰作品卖出高价的时期，她曾考虑将其出售，但她的丈夫预言其价值将持续上涨，并说：“如果我们卖了，我们就是那群混蛋。”

也许这种狂热的一部分可以归结为这样一种想法：在充满不确定性的时代，人们希望收藏那些在字面意义和象征意义上都感觉稳固的作品。而且，拉兰所使用的青铜材质在工艺和纯材料成本上就展现了时间和价值。但这种思路也引向了另一个问题。对于那些渴望成为品味引领者或未来的收藏家来说，只有一个问题。“下一个‘拉兰’是谁？这就是每个人都在试图弄清楚的事情，”苏富比（Sotheby's）的乔迪·波拉克（Jodi Pollack）说道。“他们的梦想是被认可为艺术家而非家具设计师。他们一直跟我谈论这件事，”霍尔泽（Holzer）说。拉兰夫妇最终在市场和艺术界证明了自己，但霍尔泽仍然给那些未来收藏羊毛羊、鳄鱼椅、河马吧台车以及所有直接出自弗朗索瓦-克萨维尔和克劳德之手的奇思妙想形式之作的人一个警告：“无论你喜不喜欢，人们都会坐在上面。”

为了驱除 厄运。

野蛮之地 从左上角起顺时针方向：彼得·马里诺 2018 年在克劳德的工作室拍摄的姿态；1961 年左右巴黎的一处迪奥展区；户外“加油站”展览中的羊形雕塑；克劳德的一幅素描；1978 年为《Vogue》拍摄的位于罗斯柴尔德家族周末寓所——费里耶尔冬季花园中的羊群。对面：弗朗索瓦-克萨维尔的“多形大猫”（Grand Chat polymorphe），一只拥有猫身、鱼尾、鸟翼和牛蹄的动物。

摄影师：塞巴斯蒂安·法埃纳

心流状态

自 2023 年接管这家历史悠久的法国时尚屋以来，切梅娜·卡马利（Chemena Kamali）将波西米亚之梦带回了 Chloé。何塞·克里亚莱斯-温祖埃塔（JOSÉ CRIALES-UNZUETA）与这位设计师及其缪斯军团共度时光。

切梅娜·卡马利将她巧克力棕色的长发披在肩上，一直垂到蓝色牛仔裤的腰带处。每次我见到她时，她都面带灿烂的笑容。卡马利出生并成长于德国，在伦敦攻读硕士，现居巴黎担任 Chloé 的创意总监，她拥有拉斐尔前派缪斯般温柔且忧郁的气质。但在工作中，这位设计师则是凶猛的化身：一个敏锐且坚定不移的完美主义者。

在我们为这篇报道进行交谈之前，卡马利询问了形式——是撰写一篇人物特写还是进行问答环节——以便更好地调整她回答的流畅度。而对于这张照片，她想确定应该露出多少珠宝。随后我们需要确保——

切梅娜的女性们

在巴黎大秀后的那个夜晚，切梅娜·卡马利与 Chloé 的女性们在 Le Grand Café 晚餐前拍摄了一张肖像照：莉雅·凯贝德（Liya Kebede）、帕特·克利夫兰（Pat Cleveland）、德里·海明威（Dree Hemingway）、杰西卡·米勒（Jessica Miller）、吉亚·科波拉（Gia Coppola）、艾米·卢·伍德（Aimee Lou Wood）、朱莉亚·斯特格纳（Julia Stegner）、蒂什·温斯托克（Tish Weinstock）以及亚历克莎·琼（Alexa Chung）。

埃塞俄比亚超模兼活动家莉雅·凯贝德与英国社交名媛蒂什·温斯托克没有靠得太近，因为两人都穿着白色蕾丝。卡马利如此精准且坚持，以至于当克劳迪娅·希弗（Claudia Schiffer）无法飞往巴黎参加这次拍摄（拍摄还包括模特帕特·克利夫兰、演员德里·海明威、模特杰西卡·米勒和朱莉亚·斯特格纳、电影制作人吉亚·科波拉以及长青 It girl 亚历克莎·琼）时，卡马利竭尽全力——可以说打了过多的电话——才促成了本报道中的第二张肖像照。尽管她的风格是波西米亚风——想象一下穿着飘逸连衣裙和麂皮靴的西耶娜·米勒（Sienna Miller），或是穿着农民衬衫和褶边长裙的玛丽-凯特和艾希莉·奥尔森（Mary-Kate and Ashley Olsen）——但这种风格此前已变得过于理智，成了对法国波西米亚主义（bohémien）的一种诠释，而非其本身。

卡马利在 2024 年 2 月的首次 T 台秀被人们评价为仿佛她拉开了窗帘，让光线照了进来。她设计了恰到好处的丝绸上衣，并将其与金色珠宝搭配。这是一场波西米亚时髦风（boho-chic）的狂热之梦，那些服装是 Chloé 代表性的标志，但奇怪的是此前已不再出现在其产品线中。评论家们赞不绝口：

开端。当她的同行——如伊夫·圣罗兰（Yves Saint Laurent）或皮埃尔·巴尔曼（Pierre Balmain）——专注于高级定制时，阿吉翁（Aghion）是定义成衣（prêt-à-porter）的先驱，即现在被称为 ready-to-wear 的服装，它们是应对高级定制的束缚与傲慢的一种更现实的解药。“她真的是一个想要将女性从那种僵化中解放出来的人，”卡马利说道。

除拉格斐（Lagerfeld）之外，Chloé 一直由长期任职的女性设计师定义。它的故事是一个特例：大多数奢侈品牌，即使是由女性创立的品牌，如香奈儿（Chanel）和斯基亚帕雷利（Schiaparelli），都

“女性获得这份工作不应该是头条新闻，”卡马利说道，“同样，如果一个男人获得了这份工作，也不应该受到批评。”

在嬉皮气息的环绕中，卡马利得到了她想要的。卡马利将希弗视为 Chloé 延续性的化身：这位同为德国人的模特，其资历不仅包括担任卡马利的缪斯，还包括担任卡尔·拉格斐的缪斯——后者是另一位被神话的德国人，在重塑香奈儿之前，他与创始人加比·阿吉翁一起，在 20 世纪 60 年代至 80 年代，以及 90 年代再次改造了 Chloé。2023 年底，当卡马利来到 这家建立在自由精神和极佳的荷叶边连衣裙基础上的法国时装屋时，她从圣罗兰（Saint Laurent）安东尼·瓦卡雷洛名不见经传的副手之位被推向了聚光灯下。她的任务是振兴这个品牌，在经历了包括加布里埃拉·赫斯特和纳塔莎·拉姆齐-列维在内的多位设计师不成功的任期后，该品牌已变成了一个未解的方程式。她的任命在某种程度上是在预料之中的：她在 21 世纪初以菲比·法罗实习生的身份在 开启职业生涯，随后在 2010 年代作为克莱尔·韦特·凯勒的设计总监回归。“我与 的关系显然是非常特殊的，”卡马利说，“在我的整个职业生涯中，这种关系一直非常亲密且具有个人色彩。”

尽管如此，成为热门人选并不保证成功。 此前在法罗和斯特拉·麦卡特尼的领导下曾繁荣一时，但随后迷失了方向。它曾是那些容易被……的魅力吸引的人们的目的地。

《纽约时报》称 在卡马利身上中了头彩，并赞扬她复兴了“ 女孩”——这是最持久的时尚原型之一，也是“It girl”的品牌符号——想想米勒或简·柏金，她们在各自的巅峰时期既是 It girl 也是 女孩。《The Cut》的一篇评论标题写道：“终于，女性有了新的声音”，该评论赞扬了卡马利的自信，并表示就首秀而言，她的表现不可能比这更好了。

“当我到达时，一切都在于将时装屋重新引导回其最初的创立精神，”卡马利说，“回归最初的 DNA，真正找回那种自由感，品牌曾经拥有的自由奔放的气息，以及那种毫不费力的感觉。”但她说， 不仅仅是一种造型。“ 几乎像是一种心境，”卡马利说，“很多人在等待看到这种精神、这种氛围的回归，等待这个女孩的回归。她的光芒、她的光彩、她的活力。”

卡马利现在的系列由这种轻松感引导。“它不是一个强加于人的品牌，”卡马利在谈到 时说，“这里有一种自由，而这种自由对我来说一直非常重要。”她将该品牌视为一套多功能且可塑的着装原则，广泛的女性群体都应该能够穿着。衣服是为了适应她们的生活而制作的，而不是让她们的生活去适应衣服。

这使得 保持了相关性，因为从历史上看，直到今天它一直是由男性设计的。

“女性获得这份工作不应该是头条新闻，”卡马利说，“同样，如果一个男人获得了这份工作，也不应该受到批评，这同样不公平。”两件事可以同时成立：这个行业需要更多女性来经营这类时装屋；而且，在时尚这样一个主观的行业中，创意和才华应该是雇佣某人的原因，而不是性别。

女性设计师经常因其务实而受到赞赏——这是时尚界的一种陷阱，也是最大的性别刻板印象。“我认为让我们与众不同的是，我认为这里有一种强大的女性能量，”卡马利说，“一种女性的视角，这显然使其非常个人化且非常直觉化。”这就是为什么她的系列在每个季度的巴黎时装周版图中依然脱颖而出。卡马利没有使用紧身胸衣、僵硬的剪裁或其他包裹并扭曲身体的设计，而是通过完美调整的量感和比例让身体呼吸。她对舒适度的追求并没有让她的衣服失去优雅，反而提出了一种替代性的、一致的观点。

“很多[时尚]感觉非常刻意，充满了策略、商业化、概念化，制作过度，试图尽可能多地满足所有要求，”卡马利说道。“有时如果你融入太多的观点，信息反而会被稀释。”

更多的是，卡马利希望触及 Chloé 的精神，将其精髓提炼至最纯粹的状态。“人们现在很懂，他们很聪明。如今的受众非常有意识且紧密相连，”卡马利说。“他们想要理解这个品牌代表着什么。”

卡马利在被任命的同时，还有几位其他副手也在接管不同的品牌。曾就职于 Valentino 的 Sabato De Sarno 接手了古驰；

曾就职于罗意威的 Adrian Appiolaza 接手了 Moschino；汤姆·福特的门生 Peter Hawkings 接手了他的同名品牌。两年后，卡马利成了这个四人组中唯一在任的人。她的精神化方法听起来可能有些深奥，但显然她已经破解了密码。

“Chloé 是一个非常感性的品牌，”卡马利说。“它能触发感觉，触发瞬间的情绪。”

这就是让女性被她的世界吸引的原因，这一点在——

从左上角起顺时针方向：西耶娜·米勒 2024 年在戛纳电影节穿着 Chloé；卡马利与克劳迪娅·希弗在巴黎的 Chloé 总部；卡马利与她的儿子在 2024 年 2 月的首秀之后。

——克利夫兰在肖像拍摄时指导这群人如何摆姿势时变得显而易见：“跳舞，动起来！”她说。此时海明威跳过一张长凳，而郑则向前倾身，靠近温斯托克和镜头。这些女性地自由地活动着，最重要的是，她们感到很舒适。“我总是说感谢时尚，现实世界像水泥一样粗糙，”克利夫兰在拍摄间隙告诉我。随后她放松地摆好姿势，扶住凯贝德。她们进入了 Chloé 的心境。VF

在 21 世纪初，所有名流都聚集在 Bungalow 8。这家夜总会改变了切尔西区，并定义了纽约市的一个时代。DEREK C. BLASBERG 与那些挤在卡座里抽烟、亲密接触并尽情狂欢的设计师、艺术家、大亨以及渴望成名之辈们展开对话。

THE 8

摄影师 TODD EBERLE

The quick brown fox jumps over the lazy dog.

俱乐部之子（CLUB KIDS） 从右上角起顺时针方向：特蕾西·艾敏（Tracey Emin）与约翰·沃特斯（John Waters）；格蕾丝·琼斯（Grace Jones）与弗朗西斯卡·蒂森-博内米萨（Francesca Thyssen-Bornemisza）；DJ 科尔曼·费尔特斯（Coleman Feltes）。对面：“我收到过的最高赞誉来自伊恩·施拉格（Ian Schrager），他说这里是我们这个时代的 [Studio] 54，”Bungalow 8, 的艾米·萨科（Amy Sacco）说道。

风格 2026 159 “当人们谈论 Bungalow 8 时，他们谈论的不仅仅是一个场所，”模特、企业家、大卫·鲍伊（David Bowie）的遗孀伊曼（Iman）轻声说道。 “他们是在回忆一种感觉。一个由艾米协助创造并定义的纽约历史时刻。”

这位艾米就是艾米·萨科，这位夜店大亨凭借其对“天鹅绒绳索”（入场筛选）的直觉，定义了千禧之交的曼哈顿夜生活。萨科的父亲经营一家搬家公司，母亲是家庭主妇。她在新泽西州的查塔姆（Chatham）长大，于 1990. 年来到纽约。她在城市的餐饮和酒店业中艰苦打拼，随后在 1998, 年推出了切尔西的热门场所 Lot 61，接着在 2001 年推出了她的杰作 Bungalow 8。

“对于我们许多认为 Bungalow 8 是私人聚集地的笨蛋来说，艾米就像是我们的‘窝主’（den mother），”乔治·克鲁尼（George Clooney）在从科莫湖别墅度假期间发来的一封信中如此宣称。

Bungalow（你知道不能说出那个数字）位于粗犷的西 27 街，介于更加粗犷的第 10 大道和第 11 大道之间。那是在高线公园（High Line）成为顶级旅游景点之前，在顶级画廊和十亿美元级别的摩天大楼改变这个街区之前。该俱乐部受一场艺术展启发（而该展览本身又受标志性的比弗利山庄酒店启发），店内设有棕榈树、波点长椅、酒店和泳池的壁画，门外则有一个永远在夜晚发光的“客满”（NO VACANCY）标志。

所有名流都挤过前门那个写着“8”的把手。希尔顿姐妹与肖恩·潘（Sean Penn）共用一张长椅。麦当娜与韦斯·安德森（Wes Anderson）相对而坐。珍妮·杰克逊在吧台后面学习制作西瓜马提尼。在“星二代”（nepo babies）这个词出现之前，他们就在这里了。那是比尔·克林顿吗？（是的。）时尚设计师、电影明星、知名艺术家、穷困艺术家、社交名媛、滑板手、流行歌手、伴舞、大亨以及渴望成名的人们，都发现自己挤在同一个房间里，被一个共同目标统一：身处最炙热的酷文化中心。

在巅峰时期，想要进入俱乐部，每个人都必须得到门卫 Disco 的认可。Disco 与 Bungalow 的世界如此交织，以至于他在俱乐部里遇到了妻子——并在那里结婚。（萨科主持了婚礼，而俱乐部常客、时任 Calvin Klein 全球 VIP 关系总监的劳伦·弗林（Lauryn Flynn）帮他准备了服装。）DJ 们就像是顾客的家人——其中一位直接叫 DJ 迈克叔叔（DJ Uncle Mike），另一位科尔曼·费尔特斯（Coleman Feltes）有时会发现自己在照顾一个野孩子——林赛·罗韩（Lindsay Lohan），她喜欢进来打碟。

在社交媒体出现之前，这家俱乐部就是实境版的社交媒体。而且同样令人上瘾。Khaite 的创始人兼创意总监凯瑟琳·霍尔斯坦（Catherine Holstein）回忆道，在成为美国最具影响力的时尚设计师之一的很多年前，她还是个年轻的设计系学生时就来到了这里。她说她一周能去六个晚上。（在成为 Khaite 的 Cate 之前，她是 Bungalow 8 的 Cate。）“你会看到纽约最地道的各种面孔，知道发生了什么，谁是谁，以及什么是什么，”她说。

“现在，出门社交感觉像是在产生消费，”达里尔·吉布森（Darryl Gibson）说道，他目前是迈阿密的一位酒店顾问，曾担任 Bungalow 8 前五年的总经理。“我们当时产生的不仅仅是金钱；我们是在创造文化。”

在它的鼎盛时期，Bungalow 常被拿来与 El Morocco、Stork Club 以及 Studio 54 相比。萨科加入了一个短暂但令人敬畏的女性名单，她们不仅仅是管理场所，而是在其中塑造社会，就像被认为在巴黎引入了第一家迪斯科舞厅的 Régine；纽约第二大道上著名的 Elaine’s 餐厅的 Elaine Kaufman；以及在 14 街餐厅下方设有性感舞厅的 Nell’s 的 Nell Campbell。这些女性深知，排他性不在于将人们拒之门外，而在于让正确的人进入。

“人们说宠物会继承主人的个性，”演员本尼西奥·德尔·托罗（Benicio Del Toro）说道，“我相信俱乐部同样会继承其所有者的个性。”

到 2009 年，萨科帮助改变了切尔西区，尽管她的成功促成了该社区的士绅化，并最终导致了 Bungalow 的终结。

在开业之夜 25 年后，新一代的人们在好奇：那里到底是什么样子？人们是如何进去的？真的那么棒吗？我找到了几位曾在那里待到深夜的人，并询问他们，为什么这家只有 10 张桌子、容纳人数仅一百多人左右的小俱乐部，在纽约的集体想象中依然占据着如此巨大的地位。

艾米·萨科：我来自新泽西州的查塔姆，是 8 个孩子中的最后一个。我妈妈说，Amy 是 amen（阿门）的缩写。她完事了。我总是拿这个开她玩笑。我说，“你终于搞对了，所以你当然被允许停止（生育）了。”我在 80 年代开始来到这座城市。我的第一份纽约工作是在 Bouley（原店）与 [主厨] 大卫·布利（David Bouley）共事，然后是 Vong 和 Lipstick Cafe。

派对之魂 从右上角起顺时针方向：格雷登·卡特（Graydon Carter）和约翰·梅伦坎普（John Mellencamp）；安德烈·里昂·塔利（André Leon Talley）和伊冯娜·福斯·维拉雷亚尔（Yvonne Force Villareal）；汤姆·福特（Tom Ford）、约翰·库林（John Currin）和特雷西·莫法特（Tracey Moffatt）；福斯·维拉雷亚尔；扎克·波森（Zac Posen）和纳塔莉亚·沃佳科娃（Natalia Vodianova）；蒂尔达·斯温顿（Tilda Swinton）及其友人；霍普·阿瑟顿（Hope Atherton）和塔图姆·奥尼尔（Tatum O'Neal）；欧亨尼奥·洛佩斯·阿隆索（Eugenio López Alonso）及其友人。

帽子戏法 安妮·莱博维茨（Annie Leibovitz）经常光顾 Bungalow 8，她为《Vogue》2005 年 4 月号拍摄了艾米·萨科以及本文作者德里克·C·布拉斯伯格（Derek C. Blasberg，斜躺者），以及基根·辛格（Keegan Singh）、帕里斯·凯恩（Paris Kain）、亚历山德拉·理查兹（Alexandra Richards）、布鲁克·格汉（Brooke Geahan）和艾米·格林斯庞（Amy Greenspon）。

埃里克·里佩尔（ERIC RIPERT），主厨 / LE BERNARDIN 共同所有者：我从 1990 年起就认识艾米了。她肯定会声称她那时还没出生！我们当时都在翠贝卡（Tribeca）的 Bouley 工作。我是大卫的副主厨，艾米在办公室工作。那是一项巨大的责任。Bouley 在当时被认为是纽约最好的餐厅。她很有趣，但她清楚自己的责任，在需要严肃的时候，她能表现得很严肃。

让-乔治·冯格里希滕（JEAN-GEORGES VONGERICHTEN），主厨：我从 1992 年起就认识艾米，当时她在 Lipstick Cafe 和我们一起工作。她有一种惊人的气场。她走进房间的那一刻，你就知道她在掌控全局。

萨科：伊冯娜·福斯 [维拉雷亚尔] 和我在 Bouley 做接待员时相识。她以前是个画家，和另外几个艺术家一起住在鲍厄里（Bowery）一个巨大的阁楼里。我进来时，是个新泽西女孩；她穿着 Romeo Gigli，而我穿着 Ann Taylor。有一天她突然说，“我一直想赚钱。你能教我怎么赚钱吗？”我很擅长存钱。我加班，一周工作七天，而且我乐在其中。我说当然可以。然后我说，“你能教我怎么变得酷吗？你能帮我搭配衣服，告诉我关于纽约的事吗？”

RIPERT 她那时就具备很多品质，尤其是那个阶段。她从未表现出压力。夜生活是很艰苦的。在那种环境下作为一名女性去应对所有人，处理员工关系——压力一定极其巨大。但当大门开启，人们涌入时，她看起来完全没有压力。

SACCO [福斯·维拉雷亚尔和我] 以前每隔几个月会去一次像皇家顿酒店（The Royalton）、丽思卡尔顿（The Ritz-Carlton）或四季酒店（Four Seasons）这样的酒店酒吧，买一瓶香槟，希望能遇到我们的富豪丈夫。我们当时不知道那些酒吧基本上到处都是陪酒女。我们会向对方举杯说：“谁先成功了就帮另一个。”然后碰杯。

伊冯娜·福斯·维拉雷亚尔（YVONNE FORCE VILLAREAL），艺术顾问 我的客户之一是劳伦斯·洛克菲勒（Laurance Rockefeller）。我有一大批客户，包括很多金融界人士。他们邀请我去华尔道夫酒店（Waldorf-Astoria），并说：“带个朋友一起来。”我给艾米打电话说：“来华尔道夫吧。我想把你介绍给一些可能会支持你餐厅的人。”其中大概有四五个人成为了 Lot 61 的早期投资者，随后又继续投资了 Bungalow 8。

Lot 61 是萨科的第一家夜店，于 1998 年开业。在曼哈顿中城的一个场地在最后一刻告吹后，福斯·维拉雷亚尔鼓励她去切尔西（Chelsea）看看。那个街区在当时是一片文化荒原，但一批新画廊的开业暗示了潜力。这次冒险得到了回报。

福斯·维拉雷亚尔 她问：“我应该在哪里开？”我说切尔西是合适的地方。我说每个人总是追随艺术界的脚步。 SACCO 那里以前是个车库。我必须进行环境整治并从零开始建设。 纳丁·约翰逊（NADINE JOHNSON），公关 那片区域当时什么都没有。并不美观。只有一两家酒吧。环境粗犷艰苦。甚至不安全，但没人在意，因为大家都喝得酩酊大醉，全都忘了。

“让我们在 Lot 为普拉姆（Plum）和露西（Lucy）庆祝 30 岁生日吧。”我们直接管它叫 Lot。我记得当有人告诉我“凯特·摩丝（Kate Moss）和约翰·加利亚诺（John Galliano）在这儿”时，我非常兴奋——而我们并没有邀请他们。我想，他们觉得必须得来，这太酷了。我当时觉得，我们成功了！

SACCO 阿玛尼（Armani）在华尔街的西普里亚尼（Cipriani）举办了一场时装秀。他在 Lot 举办了庆功派对，由罗伯特·伊莎贝尔（Robert Isabell）负责装饰。他是个混蛋。他最后竟然骂我是个贱人。我当时想，“这个贱人依然是老板，所以，抱歉。”愿他安息。

宣·李（XUAN LY），品牌经理 最神奇的一晚是阿玛尼先生在 Lot 61 预订了一场私人活动。[我当时在那里当服务员] 我有机会见到他，还有米拉·索维诺（Mira Sorvino）和索菲亚·罗兰（Sophia Loren），我觉得自己像在飘一样。

SACCO Bungalow 8 的构思源于我在切尔西散步时，看到一个举办杰里米·布莱克（Jeremy Blake）展览的画廊，展览名为“Bungalow 8”。那是关于比弗利山庄酒店的，就像是对那些小木屋（bungalows）的一种图式数字化重构和重新配置。

福斯·维拉雷亚尔 我们当时在逛画廊，是在费根画廊（Feigen gallery），她深受启发。她见到了杰里米，他是个非常酷、聪明且英俊的男人。

布莱克于 2007 年 7 月自杀，在他女友特蕾莎·邓肯（Theresa Duncan）自杀一周后。他的循环视频装置作品《化学日落》（Chemical Sundown）从 Bungalow 8 开业之日起直到闭店之日，一直固定在二楼。

“那是摩托罗拉翻盖手机的时代，”萨拉·穆恩维斯（SARA MOONVES）说道，“所以人们并不担心被录像。”

在汉普顿的一次野餐会上，萨科（Sacco）结识了室内设计师戴安娜·维诺利（Diana Viñoly），后者询问了她关于新俱乐部的构思。萨科走到车里去取设计图。巧合的是，戴安娜当时正与她的丈夫——屡获殊荣的建筑师拉斐尔·维诺利（Rafael Viñoly）在一起。

萨科：[戴安娜]说：“这样不行。”她接着说：“拉斐尔，快过来。你必须接手这个。”我说：“我没钱。”她说：“拉斐尔会为你做的。”

福斯·维拉雷亚尔（FORCE VILLAREAL）：我们采取的是以物易物的方式。我们给所有艺术家的报酬就是这种交换。达米安·赫斯特（Damien Hirst）创作了他有史以来最大的一幅点画，那是他在拉斐尔·维诺利位于翠贝卡（Tribeca）工作室的地下室里完成的。鲁道夫·斯廷格尔（Rudolf Stingel）做了满墙的地毯绘画。肖恩·兰德斯（Sean Landers）创作了一幅大型文字画。豪尔赫·帕尔多（Jorge Pardo）制作了那些精美的吹制玻璃作品，而私人后室里则挂着一幅大卫·萨勒（David Salle）的作品。

达里尔·吉布森（DARRYL GIBSON），款待顾问：Lot 61 感觉就像一个每晚都会变成派对的艺术画廊。

萨科：开业的第一晚，我们就被《Time Out》杂志封面评为纽约第一酒吧。当时我们甚至还没向公众售卖过任何东西！我没料到，也没准备好面对整条街排成长队的顾客，他们都想进来用餐喝酒。

普鲁姆·赛克斯（PLUM SYKES），作家：我记得我和[我的姐姐]露西（Lucy）以及艾米（Amy）当时觉得，“好吧，

萨科：在那之后的很多年里，每当有人问阿玛尼（Armani）在纽约最喜欢的餐厅是哪家时，他都会说是 Lot 61，因为我的主厨能做出他要求的意面，而且他本人真的会亲自来品鉴。我们接待过德尼罗（De Niro）、斯科塞斯（Scorsese）、凯文·科斯特纳（Kevin Costner），所有人都来过。

马克·朗森（MARK RONSON），DJ：我在 Lot 61 做过很多晚的 DJ。我的很多记忆有些模糊，但我记得自己经常在宿醉状态下出现——那个时代我经常派对——然后对自己说，我怎么才能撑过这场演出？然后你会看到她向 DJ 台走来，她那 185 厘米（6英尺1英寸）的身高，让你不可能不感到快乐。

在 Lot 61 经营三年后，萨科准备扩张她的帝国。2001 年，她在切尔西（Chelsea）附近一个原先的画廊空间开设了 Bungalow 8，希望创造一种更私密的俱乐部氛围。

萨科：Lot 61 火得不行，但我想要扩张。我就住在马路对面 [27街]，经常在那儿走来走去。那里有一个画廊空间，看起来被废弃了。我一直往门缝下塞纸条：“如果您有兴趣出租，请给我打电话。”有一天，我接到了电话。

福斯·维拉雷亚尔：基本上，那里变成了她客厅的延伸。

萨科：那时我还没去过洛杉矶，但我从小就和妈妈一起看好莱坞老电影。我对比弗利山庄酒店（Beverly Hills Hotel）非常着迷。在纽约，我们都像住在悬崖边一样，层层叠叠地挤在一起。我想，“哇，如果在纽约这样的城市里能拥有那种度假屋（bungalow）的体验，会是什么样子？”

吉布森：Bungalow 就像夜晚身处比弗利山庄酒店的泳池边。在满月之夜，整个空间闪闪发光；那是魔幻的。那里有棕榈树，在室内生长了很久。我现在住在迈阿密，想到我们竟然能让那些树在人们抽烟、坐在树上、打翻饮料的情况下活下来，我就感到惊讶。

萨科：我安装了天窗，是为了在太阳升起时提醒大家该回家了。但人们干脆带一副太阳镜过来。我最后成了非官方的 Sunglass Hut（太阳镜店），因为我在衣橱里准备了一篮子大家遗忘的眼镜，专门给那些在日出时分仍留在那里，喝完最后一瓶酒、聊完最后一个故事的人。

LY：它有一个 [玻璃] 屋顶，就像度假屋一样。楼上设有 DJ 台，你可以俯瞰整个房间，看到所有人。

迪斯科（DISCO），门卫：我们第一次开车沿着西 27 街行驶时，那里有 续见 170

烛光之下 从左上角起顺时针方向：Fergie 与大卫·贝克汉姆及维多利亚·贝克汉姆；Sacco；帕丽斯·希尔顿与杰森·肖；André 3000 与乔治·克鲁尼；Met Gala 之后，克鲁尼在 Bungalow 8 举办的 47 岁生日派对；迪塔·冯·蒂斯、斯嘉丽·约翰逊与克里斯蒂安·鲁布托。

STYLE 2026 165

纽森之情

私密内容。在第一封信中，我辞职——因为我知道，如果我想保持清醒，就不能回到市政厅。在第二封信中，我结束了这段情事。

直到后来我才知道，我的姐姐也联系了我的上司。她拨通了他的手机，告诉他不要再见我。“她的状态不好，正在接受治疗。即便她联系你，拒绝也是你的责任。”姐姐告诉我，他的回应大概是某种形式的“上帝保佑，上帝保佑……”

我的家人将大部分责任归咎于我的上司和办公室的环境。但让我崩溃的并非这段情事，而是我的酒精依赖症。这段情事只是给它提供了一个寄居之所。

近两个月后，当我从戒酒中心回到家中，我试图恢复妻子和母亲的生活。与此同时，亚历克斯每天早晨前往市政厅——前往那个我背叛他与之私通的男人身边，而他依然不知道我们之间发生了什么。

不久，他被招募去管理市长的连任竞选活动。他的工作时间延长到了深夜的战略会议和晚餐。他正在一砖一瓦地构建着某种事业。

几个月来，我保持沉默。这种沉默像发烧一样渗入我的身体。直到有一天晚上，我再也无法承受。

坦白——2007年1月13日

亚历克斯在旧金山的家中陪着我们的儿子，处理洗澡和就寝事宜。我在纳帕父母家中。我坐在楼下客厅黑暗中的沙发上，只有手机的光芒照亮着我。

我开始起草一封电子邮件，大拇指快速移动。我写得很直白：就是与市长发生了关系——断断续续持续了几个月。在进入戒酒中心前已经结束。我很抱歉。我将此归咎于我的酒精依赖症。我盯着屏幕看了一会儿，然后按下发送键，关掉了手机。

第二天早晨，我直接开车回家。当我走进门时，房子看起来没变。地板上的玩具。

水槽里的瓶子。但亚历克斯变了。他站在厨房里，脸色惨白。他看向我的眼神让我感到陌生。

他的声音小心且克制——这是我一直以来爱他的特质之一。即便在灾难面前，他依然能保持冷静。他说他需要几周时间思考。然后他收拾好行李离开了。

我至今仍在思考，哪一个才是更严重的过错：我的不忠，还是我在告诉他这件事时未能直视他的眼睛。

在那段时间里，他请求与市长会面，而市长当时仍在达沃斯参加世界经济论坛。在瑞士，市长已经收到消息，得知我可能已经坦白。一整天，他的号码在我的手机屏幕上闪烁。

会面定在他从欧洲回来的第二天。亚历克斯开车前往市政厅，这段路他开过数千次。多年来，他接听上司的深夜电话，毫不犹豫地牺牲周末。他想直接听到答案——最后一次直视他的眼睛。但没有得到坦率的回答。

头版头条——2007年2月1日

到了早晨，我的脸出现在每家当地报纸的头版。SFGate报道：“竞选经理辞职——与‘处于震惊中’的市长对质。”《纽约时报》报道：“旧金山市长承认与助手妻子有染。”电视台循环播放这条新闻。市长在电视上举行了现场新闻发布会。“你们听到和读到的所有内容都是真实的，”他说。

我在纳帕父母家中观看。我坐在浅绿色的雪尼尔沙发上，面如死灰，沉默不语。家人在我周围走动，讨论对策。父亲提出帮我买 Cold Stone Creamery 的冰淇淋，因为我已经两天没吃东西了。母亲在浏览网上关于我的读者评论。我的兄弟们在不恰当的玩笑和复仇的威胁之间来回切换。

我的手机被记者的电话和短信淹没。我不接电话，不予回应。我什么也不说。我等待着，直到能再次见到亚历克斯。那些头条，那些评论——都无关紧要。我只想着他。

坏消息

那是一个周日的早晨。我正和一位朋友在诺谷（Noe Valley）的一家户外咖啡馆喝咖啡。我们旁边一张被弃用的桌子上放着一份《旧金山纪事报》，上面刊登了市长新女友的人物特写。我的朋友拿起报纸开始大声朗读。

“我不该这么说，但……如果人们去调查那场丑闻……那个女人才是罪魁祸首。”

我以前见过关于我的评论——猜测、谴责，偶尔也有辩护。这并不新鲜。新鲜的是他的女友进入了记录——一个在婚外情发生之后才进入他生活的人。

第二天早上，同一个朋友给我发了一条 SFist 的链接。我点击，滚动。我的心开始狂跳，随后一切都慢了下来。我的口干舌燥。她还有更多话要说。

“我完全是一个支持女性的女性，一个女孩们的女孩……你对婚外情的定义是什么？……那不过是几次无关紧要的小事，当时她醉得不省人事地出现在他门外……她是个麻烦人物。”

我把这些句子读了两遍。内容没有改变。麻烦人物。几次无关紧要的小事。我的胸口产生了一种纤细而空洞的感觉。

一位来自《旧金山考查者报》的专栏作家给我打电话。我们在社交场合认识。他问我想不想公开表态。我感谢他但拒绝了。他说她的措辞让这件事听起来像是违背意愿的。我告诉他，并非如此。我没有被强迫。我知道自己在做什么。

距离 #MeToo 运动爆发还有十多年，但相关的论点已经在形成。我听到了每一种解释。没有一种能让我免责。是的，饮酒很重要。我的傲慢同样重要——那种认为后果只发生在别人身上的信念。

我并非困惑或天真。我是一个成年女性，我做出了伤害我所爱之人的选择。

我就是那个罪魁祸首。

一个真正的“女孩们的女孩”

不久之后，卡玛拉·哈里斯（Kamala Harris）给我打了电话。我在布朗政府时期就认识她；她现在是地区检察官。我告诉她，人们在敦促我公开表态。一家出版社提出愿意为我的回忆录支付预付款。我身无分文，且无法被雇佣。

她听完后简单地说：“鲁比（Ruby），我现在建议你什么都不要说。先暂停。时间会给你更好的视角。”

事实证明，这是我收到的最好的建议。我刚刚戒酒，仍处于废墟之中——无法理清任何事情，更不用说清晰地谈论它了。

于是我保持沉默。

亚历克斯

我相信他有可能会接纳我；相信诚实会在某种程度上稳定局面。他会愤怒，会受伤，但我们会消化这一切并向前迈进。我错了。

自从我坦白之后，亚历克斯和我再也没有在同一个屋檐下睡觉。忍受我的酗酒需要亚历克斯付出持续的努力：处理紧急情况，悄悄掩盖，承担额外的育儿工作。我的坦白改变了这个等式。无论他对我可能变成什么样的人还抱有怎样的希望，都必须让位于我曾经是什么样的人。

重新阅读他那时发给我的电子邮件是最艰难的部分。不是因为他说的话，而是因为我能看到我的行为落在那个我最爱的人身上的结果。我对他的感情与我对他的所作所为之间的距离，令人难以承受。

在那些信息中，他从未表现得残酷或心怀报复。他是在试图理解，他最信任的人是如何颠覆他的生活的。

他告诉我他无法入睡，他彻夜难眠，试图理清这一切。他说，伤害并不局限于我们的婚姻。它向外扩散到了所有事情中：

尽管如此，这次清算揭露了我所忽略的事实：权力不需要强迫。它只需要存在。坚守底线的责任在于那个掌握底线的人。而这件事没有发生。但我并不是误入了那个留出的空间——我是看到了一个可能性，然后选择了它。

这两件事都是事实：我对我的所作所为负责。而权力分配后果的方式并不均匀。

保护——2026年1月29日

我醒来时收到一条语音信箱，对方是我在市政厅工作期间认识的人，现在是我前上司的顾问。“嘿，露比！好久不见。给我回个电话。”

随后，在去练瑜伽的路上，我靠边停车回拨了他的电话。在寒暄了几分钟后，他切入了正题。“州长的回忆录将在几周后出版，”他说，“他想让你知道——你在其中几页中出现了。”

我愣住了。

愤恨是我负担不起的奢侈品。相反，我回归于感激，并非为了那段婚外情，并非为了我给亚历克斯带来的痛苦，而是为了随后发生的一切。

他的工作，他的未来，他的财务状况，他对自我的认知——以及他认为自己正在构建的生活。

在最初的几个月里，我陷入了道歉、冗长的情感解释以及试图联系他的循环中。后来，在康复期间，我学会了另一种回应方式。不是用言语，而是用克制。

让他一个人待着。在力所能及的地方让他的生活变得更轻松，不再增加我已经破坏的东西——即便这意味着永远无法重新进入他的生活。

最大的代价从未公开。那是我对一个好人所做的事，他本该得到比我给予的更好的对待。

两者皆为事实

十一年后，#MeToo 运动带来了一个新版本的我的故事——在这个版本中，我不是罪魁祸首，而是一个无权无势的下属。我予以反驳。承担责任感觉是我所拥有的最后一种自主权。

“你想让我读给你听吗？完全没有坏话——没什么好担心的。”

“不用了，谢谢，”我说。然后我补充道，“他说了实话吗？”

他发出了一声轻微且尴尬的笑声，说道：“嗯，我们对事情的记忆总是不同的，不是吗，露比？”

对于我的前上司来说，这只是他漫长上升轨迹中的一个脚注。而对我来说，这是将我的生活劈成“之前”和“之后”的裂痕。

几天后当我读到那些页面时，一种熟悉的感觉回来了，那是被一个认定我不会回应的人描写时的感觉。他将其描述为“一段极短的婚外情”。他提到，他的姐姐观察到我“贴得有点太近了”。

他还写道，是他向亚历克斯“坦白”的。这个细节——微妙但至关重要——是我一直铭记在心的部分。在我看来，这是一种将我已经做过的事情归功于他的叙事版本。从技术上讲，这或许站得住脚，但它留下了一个不可磨灭的印象：是他在告诉亚历克斯真相，而不是我。

但愤恨是我负担不起的奢侈品。相反，我回归于感激，并非为了那段婚外情，并非为了我给亚历克斯带来的痛苦，而是为了随后发生的一切。我需要某种灾难性的事件来改变方向。某种让回头——再次酗酒——的代价变得不可想象的事情。

我对亚历克斯以及对我自己所做之事的痛苦，在二十年里的每一天都伴随着我。我曾认为那是惩罚。现在我将其理解为一种保护。

剩下的东西

今天是我戒酒 20 周年的日子。

我用市政厅的盛宴换成了教堂的地下室，用细高跟鞋换成了 New Balance 运动鞋。我遇到了瑞安，并建立了第二段婚姻——这段婚姻比第一段更持久。他的沉稳改变了我的生活。我们共同建立了一个我曾不确定自己是否能拥有的家庭。我们一起抚养着 11 岁的儿子。

亚历克斯花了十多年时间才敢再次直视我的眼睛。我们共同抚养孩子，没有敌意，但他始终保持距离。我专注于我能做到的事情：保持清醒，陪伴儿子，以不同的方式生活。

最终，一些小小的突破出现了——在 The Depot 和儿子一起喝冰茶，在疫情期间帮对方送杂货，在儿子的生日会上共进晚餐。当他与我的好友海蒂订婚后，聚会变得更加频繁。

去年的一天下午，我正开车回家，他给我打了电话。我们很自然地聊了起来，在谈到一件关于儿子的琐事时一起笑了起来。然后，他的语气转变了。

“其实我打电话来还有另一个原因，”他说，“海蒂和我希望你和瑞安能参加我们 11 月的婚礼。”这句话在两人之间悬而未决。片刻之后，他打破了沉默：“露比。我们是一家人。”

于是，我们去了。

当人们起立为这对新人祝酒时，我和丈夫坐在宾客之中——亚历克斯在笑，举起酒杯。接着，我们的儿子站了起来，他已经长大且沉稳，发表了伴郎致辞。瑞安搂住我的手臂紧了紧，我依偎在他身边。亚历克斯与我对视，露出了微笑。

我们失去了婚姻，但没有失去成为另一种形式家庭的能力。那些伤害是我造成的，但随之重建的生活同样属于我。VF

MAGA 风格

：Chiara Boni 的紧身裙、Tuckernuck 的连衣裙以及 Florsheim 的鞋子——并将它们转化为关于性别、性取向和权力的僵化信息。MAGA 理解时尚。但并非是以那种面向知识分子和业内人士的深奥方式，也不是将其视为一种华丽的举动，甚至不是将其视为个人身份的问题。无需陷入关于出处、艺术性、长篇叙事甚至隐喻的讨论中。在复杂且混乱的世界里，MAGA 让事情变得简单：女孩穿粉色，男孩穿蓝色。除此之外的一切皆为噪音。

本届政府明白，他们所吸引的选民并不会去阅读细则。我们生活在一个视觉文化中，仅凭一眼就能对一个人做出即时判断，无论那是穿着连帽衫、拿着一袋彩虹糖、因看起来可疑而被杀害的黑人孩子特雷冯·马丁（Trayvon Martin），还是戴着反戴棒球帽、携带半自动武器、杀害了两名手无寸铁的人却被陪审团判定无罪的白人孩子凯尔·里滕豪斯（Kyle Rittenhouse）。人们看到的是他们预期看到的，是他们为了理解自己的世界而需要看到的。

赫格塞斯（Hegseth）痴迷于服役人员——或者用他更喜欢的称呼“战士”——的体格，暗示士兵的勇气和正直与他的腰围大小直接相关，而国家的尊严则由六块腹肌来衡量。他将这些男性——以及数量日益减少的女性——变成了他所谓的“战争部”的模特。他们的工作是在世界舞台上昂首阔步、展示肌肉。对于赫格塞斯来说，胜利的十分之九在于看起来像那么回事。

他梳着大背头，西装外套的剪裁让他的肱二头肌在袖口处凸显，赫格塞斯在日常生活中像个漫画书里的超级英雄，似乎在威胁出现的第一迹象或权威受到第一次考验时，就会撑破纽扣。他的愤怒被视为男子气概的衡量标准，仿佛文明礼貌是给懦夫准备的。在他看来，能力是什么样子？不是一个蜷缩在电脑键盘前的棕色皮肤女性，而是一个下颌方正、拥有 V 型身材、看起来像美国队长的战士。

一个值得国家同情和尊重的人女性应该是什么样子？她看起来不像贝卡·古德（Becca Good），她的伴侣勒妮·古德（Renee Good）在明尼阿波利斯被 ICE 探员枪杀。联邦官员对贝卡·古德启动了调查。

对于这群人来说，一个值得同情的女性看起来像埃里卡·柯克（Erika Kirk）。在丈夫查理被杀后，柯克在“美国转折点”（Turning Point USA）会议上与妮基·米娜（Nicki Minaj）进行对话的场景令我震惊。这位说唱歌手看起来像是要去教堂，而柯克则像是要去参加一场时装秀的前排。这位前选美冠军留着金色的长发，在舞台上穿着一件古铜色缎面衬衫和飘逸的白色长裤。虔诚的女性气质通过服装、妆容和大量地使用“阿门”来演绎。

在这些空间中被推崇的女性在早晨“化好妆”——就像 20 世纪 50 年代的女性会说的那样。她们穿上高跟鞋。她们为一群希望被告知社会等级（正如他们长期定义的那样）未被颠覆的观众，表演着（白人）女性特质。

MAGA 风格是一种将我们分类的工具。谁值得同情，谁应该被调查；谁是英雄，谁是可以被牺牲的。

特朗普的世界攫取了文化的一部分，而这部分曾经是女性、酷儿、黑人和棕色人种、艺术知识分子以及创意反叛者的领域。时尚曾是一个拥有自己特殊语言的安全避风港——一个庆幸地已经超越了闪亮饰品、只有单一米色调的所谓“裸色高跟鞋”以及权力着装（power dressing）之虚饰的地方。它已变得极其多样化，以至于几乎默认成为了个性的表达。

MAGA 窃取了时尚的力量，并利用它来还原一个扭曲的、两代人之前的世界——在那个时代，不仅是 T 台，整个美国文化都尚未取得进步。MAGA 没有利用时尚让人们感到更美丽、更被认可或更有力量，反而让我们变得更刻薄，更缺乏觉悟，而且丑陋得多。——VF

乔丹·罗斯 (Jordan Roth)

：“当时有一段关于伟大艺术家乔丹·罗斯的夸张祝酒词。我当时在想，等等，乔丹现在变成艺术家了？”

在最近一场第五大道的派对上，一个仅通过网络了解罗斯的人对我评论道，他应该与瑞安·墨菲 (Ryan Murphy) 合作。幸运的是，两天后，罗斯宣布了《碎片》(The Shards) 的首播日期。在剧中，罗斯将揭晓又一次公开的身份转变，饰演史蒂文·莱因哈特 (Steven Reinhardt)——在墨菲改编自布雷特·东顿·埃利斯 (Bret Easton Ellis) 小说的这部作品中，他扮演一名好莱坞的“问题解决者”。该剧讲述了 1981 年洛杉矶在连环杀手肆虐期间的青少年故事。罗斯饰演的角色身着皮革装束，戴着双色假发，目光轻佻却又有一种奇怪的定力，让那些青少年演员们似乎不知该恐惧还是该感到安心。

莎拉·保森 (Sarah Paulson) 是墨菲阵营的核心成员，而罗斯通过百老汇与她相识多年，正是她促成了这次选角。“我问他，‘你想尝试演戏吗？’他说，‘噢，想。’于是我说，‘那么在瑞安的世界里尝试一些东西怎么样？’”罗斯确实已经在墨菲的关注名单上了。“瑞安向我介绍 [史蒂文] 时，将其描述为一个更前卫、某种程度上具有美学冲击力的角色，”罗斯说道，他在这个角色身上看到了部分自我。

“我立刻就被他吸引了，”墨菲在谈到罗斯时说。“有趣的是，他像风一样多变。他所做的一切极其勇敢，有时情感冲击力强得令人震惊。他本身就是一件艺术品。”墨菲已经在着手编写该剧的第二季。

“我的计划一直是要成为一名演员，”罗斯告诉我，并补充说他希望长期坚持下去。“我绝不会离开。从第一个镜头开始我就感觉到，噢，开始了。”（目前，罗斯正在探索出演一部关于摄影师罗伯特·梅普尔索普 [Robert Mapplethorpe] 及其年长艺术赞助人男友萨姆·瓦格斯塔夫 [Sam Wagstaff] 的故事片。《碎片》的合作演员霍默·盖尔 [Homer Gere] 将饰演梅普尔索普；罗斯将饰演瓦格斯塔夫。）

罗斯的野心是否包括以演员身份全面回归百老汇？当然包括。他想做一次“对现有著名音乐剧的解构”，并且已经就此与旧同事进行了沟通。“我很想看到他演《钢铁木兰》(Steel Magnolias)，”另一位《碎片》的合作演员凯亚·格伯 (Kaia Gerber) 说道。

《碎片》将成为又一次模糊现实生活与荧幕生活界限的机会，更不用说在这个过程中激怒一些僵化的文化建制派。但如果他有一天卸下伪装，会发生什么？

在所有这些公开的表演性艺术尝试的核心，有一个共同的主题：模糊性——文化类型的模糊、职业身份的模糊，而他在性别问题上的模糊性最为显著。这是罗斯极少数愿意直接面对的话题。

“我不喜欢，并且在身体和内心能感知到的，是不适感。那些我觉得我的存在让你感到困惑的时刻，会让我感到不适。”在提到使用公共洗手间时被他人注视和诧异的神情时，他说，“如果你必须询问，这意味着我未能让自己变得‘易读’，而我们一直被引导认为，让自己对他者而言易读是我们的责任。我正致力于释放这种责任。”罗斯关于性别流动性的进步特质，是思考许多人如何看待他的一种有效方式：他们只是不知道该如何定义他，但又无法移开视线。对于某些人来说，他讽刺的自我与他表演出的自我之间的差距，可能是令人困惑的。

在我采访过的人中，最令他们恼火的似乎是他那种夸张、过于严肃且自命不凡的自我塑造。他将这些负面反应归结为他的性取向、流动的性别以及对方的无知。

他处理这一切的方式——他的性别、他的艺术以及他的网络生活——之间存在一种对称性，即实际上并没有界限，也没有任何方法能在没有面具的情况下感知这个男人。

罗斯已经拥有了金钱能买到的所有东西，因此唯一剩下的真正冒险就是他不断的蜕变。对他而言，成功不在于是否会被认可为一名真正的艺术家或演员。他的真诚，以及那种敢于尝试——而且是非常努力且公开地尝试——的无畏精神，本身就是一种成功。他一生都在以证明质疑者是错误地为乐。而且，谁能断定托尼奖是他唯一能获得的奖项？重要的是，我们已经关注到了“乔丹秀”。而他认为，我们一直以来都应该关注着。VF

Bungalow 8

（）下面什么都没有。那是一条阴暗的街道。我当时就在想：“哟，在哪儿？”——原谅我的措辞——“我他妈在哪儿？”然后你就看到了那个“客满”的标志和那盏巨大的灯。

FORCE VILLAREAL 那是一个相当小的空间，有波点卡座和条纹卡座，里面的感官体验被极大地强化了。无论你走进门时有多疲惫，你都会立刻清醒过来，准备好与人们建立联系。

演员 BENICIO DEL TORO 别忘了观察人群——那是城里最精彩的表演。

SACCO 我觉得当时人们真的想要一个更私密的空间。别忘了，那时候所有东西都很大。Lotus 很大，Pink Elephant 很大，Cain 很大。还有 Marquee，以及 Limelight！于是我说：“好吧，让我们给人们提供一点更多的隐私，让他们能做自己，能彻底放松。”

刚开始进展有点缓慢，因为我犯了一个错误，发放了[钥匙]卡。钥匙基本上就是邀请函。那是真正的房间钥匙。如果你在门口出示它，我们有名单，而且钥匙是有编号的，这样我们就能识别会员。它就像是纽约的第一家会员制俱乐部。SYKES 它是仅限会员，但没有会员费。

DJ COLEMAN FELTES 她受到了伦敦当时情况的启发，但那里的这种文化已经很成熟了。而这里的会员制在那时还没有流行起来。我认为她最终的做法是放弃那个方案，改为实行极其严格的入场把关，于是情况改变了。她并不在乎赚钱。她知道在前六个月，甚至一年里，她会经历一个缓慢的积累期，以此构建这个概念——而且她没有向商业妥协。

Bungalow 8 开业后不久，世界贸易中心遭到袭击。有一段时间，纽约的夜生活像一片荒漠。Sacco 用自己的积蓄支付了所有人的工资。在《欲望都市》（Sex and the City）的一集中，莎拉·杰西卡·帕克饰演的凯莉·布雷德肖在得知一个朋友拥有钥匙后前往该俱乐部，这一臭名昭著的剧集促使人们重新走出门外。

GIBSON 我们开业时，入场政策非常严格，所以有些人甚至根本没尝试进来。然后《欲望都市》那一集播出了。在那集播出后的那个周末，门口简直疯了。这么多人凭空出现！对我来说那是激动人心的一夜——我们坚持了下来，原以为人们不会来，结果突然之间，大家都明白了。从那时起就再也没有冷场。凌晨 1 点后，像准点一样，门口会变得疯狂，我们在接下来的三个小时里赚到了所有的钱。

DEL TORO 午夜之后，那里总是演变成某种超凡脱俗的景象。

SACCO 《欲望都市》贡献了很多神话，但我想它也促成了缓慢衰落的开始，因为大众都知道它了……顺便说一下，我很喜欢达伦 [Star]。我清楚地记得我去现场看拍摄时……全是男人。我想，这不能代表这家俱乐部的真实面貌。于是我拿起电话，开始给所有我认识的漂亮的人打电话，让他们为了免费饮料赶紧赶过来，出现在《欲望都市》里。

赛克斯：我没看《欲望都市》，因为我当时正忙着过那种生活。那时我们有一种共识，觉得我们都身处一部名为《迪斯科最后时光》的电影中，而且每晚在 Bungalow 8. 俱乐部里就是在演绎这部电影。我和我姐姐以及所有英国朋友会在周五晚上——不管那是几点，比如 11 点——过去，然后一直待到凌晨 5 点。我也不知道我们当时在干什么。我不吸毒，所以没碰那些东西，但那真的太好玩了，以至于每个周五晚上我都会待到凌晨 5 点，喝上几杯神风特饮（kamikazes）。

劳伦·塔巴奇-班克，《INTERVIEW》杂志娱乐总监：当时有一群女孩，她们都是 Condé Nast 的助理或关联人员，大多在时尚和娱乐部门工作。我们会在 8 点左右去 Pastis 餐厅吃晚餐，就是位于西 12 街小巷的那家原店。然后我们会前往 Bungalow 8 和待到很晚。如果你觉得特别想放纵一下，就会去 Florent 餐厅，用一个芝士汉堡结束这个夜晚。然后第二天 8:30 你就得回到办公桌前，穿着极其精致，也许还有点宿醉——但你一定会准时出现。

萨拉·蒙维斯，《W》杂志主编：我 2003 年搬到纽约就读纽约大学（NYU），而且非常不恰当地，Bungalow 8 成为了我们的俱乐部。我当时觉得，不敢相信这种地方竟然真的存在。它有太多的身份象征，比如你坐在哪里，在哪个卡座，是否能进去，以及所有这些细节。音乐、舞蹈、灯光和人群，就像一场狂热的梦。

费尔特斯：[艾米] 喜欢迪斯科、灵魂乐、嘻哈、放克以及混音和拼接音乐。她的品味极好，但我们不像那些播放浩室音乐（house music）和欧洲风格音乐的俱乐部。这里非常、非常美国化，这就是艾米的风格。

塔巴奇-班克：当人们说“在桌子上跳舞”时，这有点像个玩笑话。但那实际上真的发生过。

斯汀，音乐家：[2007 年] 我随 The Police 乐队巡演，当时我们在麦迪逊广场花园演出，正好是万圣节。演出时，我穿了一套哈利奎因（Harlequin）服装，戴着超级英雄面具。我穿着紧身裤，配有裆甲，一件花色外套和面具。我们直接从舞台前往俱乐部。

特鲁迪·斯泰勒，电影制作人 / 活动家：我穿着猫女装（包括面具）在花园球场看完了那场演出。我记得在 The Police 演出期间我汗流浃背，然后到达 Bungalow 8, 谢天谢地，那里的空调非常给力。在那个夜晚的某个时刻，我记得我体内的“猫女”占据了上风，我跳到了那些著名的盆栽植物上。

蒙维斯：我记得坐在卡座里，人们挂在棕榈树上，简直疯了。那是社交媒体时代之前，所以你不需要回头看是否有人在录像或拍照。那是摩托罗拉翻盖手机的时代，所以不用担心任何事情被录下来。

朗森：我只记得站在房间中央，那种绝妙的灯光，刚好足够昏暗。你在那里永远不会真正惹上麻烦，因为没人能真正看清你在做什么。你能看到足够的路让自己走一步接一步，但没人能看到你干了什么。大多数晚上我是在凌晨 1:45 或 2 点左右走进去的，刚结束另一场演出，那里充满了电光火石般的兴奋感。

劳琳·弗林，造型师 / 设计师：它变成了一座私人别墅，如果你愿意的话，可以称之为私人避难所。这就是为什么我把它称为“地下酒吧”（speakeasy），因为她在门口不检查你的手机，但如果你敢把相机拿出来，你会被终身禁入。

SACCO [我记得] 琳赛 [洛翰] 和辛迪·劳帕有一天晚上在墙边比赛倒立。我想是辛迪赢了。黛米 [摩尔] 当时也在，那是她和艾什顿 [库彻] 的初次约会之一。他们参加了周日宾果之夜。我的朋友埃里克森·威尔科克斯，他曾是我在 Lot 61 的服务员之一，过来主持宾果游戏。如果你喊错了宾果，就得抓着棕榈树，然后屁股上挨一下拍板。我敢发誓，当时有很多人是故意这么做的。

SYKES 如果你是演员，你可以从好莱坞过来，然后感觉到“我真的在纽约”。

CATHERINE HOLSTEIN，KHAITE 创始人 / 创意总监 此外，那时候还可以抽烟，这让大家在聊天时手里有事可做，而不需要因为尴尬而死死地抓着手机。当迈克·布隆伯格在 2003 年禁止吸烟时，弗兰·勒博维茨对他说了什么？艺术家们坐在酒吧里聊天、喝酒、抽烟，这叫什么？这叫艺术史。

MOONVES 我记得我进去后脱掉鞋子，在 Bungalow 8 的中央走道上做了一个侧手翻，然后被礼貌地请了出去。那是我唯一一次被要求离开，但后来我又被欢迎回来了。

GIBSON 你会看到 A 级名人、继承人、公爵夫人和公爵——上流社会。然后你还会看到那些对纽约街头意义重大的人——来自布鲁克林的街头少年，那些没钱花但拥有另一种“货币”的艺术家。

SYKES 她吸引了像杰伊·麦金尼和……噢天哪，那个女人叫什么？保罗·奥斯特的妻子——西里·哈斯特维特。这类人会出现：酷、时尚、文人气息浓厚的人。因为电影明星不想总和电影明星混在一起，不是吗？

IMAN，模特 / 企业家 在人们知道什么是“策展”——你知道，那个文化流行词——之前，艾米就理解那种魔力，即房间的氛围是由身在其中的人决定的。

SACCO 安妮 [莱博维茨] 太棒了。她以前会在两点钟，或者在拍摄结束后的任何时间，提前来参加五点钟的鸡尾酒会。我会直接为她打开房间，并叫调酒师早点过来。当然了！她是我们这个时代最伟大的艺术家之一。她的伴侣苏珊·桑塔格也经常在场。你能想象吗？所以你会有苏珊·桑塔格，会有萨尔曼·鲁什迪，但与此同时你还会有凯莉·米洛，然后会有 Kid Rock，然后会有肖恩·怀特，然后还会有，那个以前……那个艾伦，去世了的，那个很有钱的家伙。有游艇的那个？保罗·艾伦。

MOONVES 那是我去过的第一个将年长者和年轻人融合在一起的地方。我想她喜欢这一点，因为如果不是这样，既然她已经有了那些非常酷且年龄相仿的人，为什么还要让我们进去？除了我们年轻且，我想，足够迷人之外，她不需要我们出于任何其他原因。

DEL TORO 包容性也是魔力的一部分。年长者与年轻人，来自各行各业、不同年龄段的人交织在一起，构成了 Bungalow 8 的底色。音乐及其跨度——比如将 [Terror Squad 的] “Lean Back” 与 The Who 的 “Eminence Front” 混编在一起。

FELTES 那是极其成功的艺术家与无名之辈之间的一种不可思议的平衡。

SACCO 这里从来不打算走势利之风，也不是只为名人准备的。只是因为地方小，所以我必须控制入场。我知道这一点。

THE VELVET ROPE 门卫 Disco 与《名利场》资深撰稿人乔治·韦恩。

整个目标是让对话的层次更高一点。

HOLSTEIN 一旦你进去了，那里就像一场派对，因为每个人都被认为有趣、好玩且特别。我还记得——是那个叫 Todd 的 DJ——在深夜快结束时开始播放垃圾摇滚：涅槃乐队（Nirvana）、珍珠果酱乐队（Pearl Jam）、电台司令（Radiohead）和一些汤姆·佩蒂（Tom Petty）的歌。收尾阶段很棒。通常是以迈克尔·杰克逊的歌开始来带动气氛，然后总是以某种能让你在内心深处感到心碎的音乐结束。

SACCO 大家都认识迈克叔叔 [DJ]，每个人都会跑过去和迈克叔叔混在一起，以至于我不得不给他买一件印着“迈克叔叔不是玩具”的 T 恤，因为当时巴黎（Paris）和林赛（Lindsay）以及所有当 的女孩们都喜欢跑过去和迈克叔叔一起玩、挑黑胶唱片。

FELTES 有一个晚上林赛·罗韩来了，她进了 亭，当时她完全醉得不省人事，而且她想当 。我并不允许太多人进到 亭后面，因为要进入那里必须经过一扇后门。大多数人不知道这扇门，也没有人会跳过去。但我记得林赛真的走过来对我说：“我想上去。我想放歌。”艾米看了我一眼，直接说：“停，停。”

IMAN 我总是说，好的品味有时很无聊。你需要一点点“垃圾”元素。大多数名人并不想被保护，尤其是如果他们知道艾米会保护他们的话。

DISCO 名人们和我们一样。他们只是工作更好。他们和我们一样。他们会像我们一样哭，像我们一样生气，像我们一样开心。他们做的事情和我们一样。他们是普通人。

SACCO 如果你带的人是不尊重他人、不好玩，或者就是……比如带了 20 个男人过来……如果你提前告诉我且他们都很帅，那没问题，但我需要提前知道，因为我会通过在早些时候少放一些男人来平衡，因为我知道会有一个由 20 个人组成的帅气足球队或者游骑兵队要进来。

FLYNN 我有一群滑板少年住在我的房子里，他们想去 Bungalow 8。我没有问艾米，这其实是一件很冒险的事，所以我决定碰碰运气。我们全部滑板过去，结果她很喜欢。我的意思是，结果可能截然不同。她可能会砍掉我的头并终身禁入。但她说：“确保滑板在门口整齐地排好。”

DISCO 衣着得体。你知道问题出在哪吗？只要你走到正门时具备基本的常识，任何俱乐部你都能进去。

SACCO 我们以前会有穿着舞会礼服的人和变装皇后，然后还会有一个滑板手，但他们是真正的奥运滑板选手，所以没关系。或者他们是年轻艺术家，比如 Dash Snow。所以没人在意他们是否穿着 T 恤和牛仔裤出现在那里，因为他们穿得很有型。DISCO 有个家伙对门口的人说：“我会买下你，卖掉你，再买回来，然后再卖掉。”他没进去。有个名人对门口的人说：“你们就是看门的人。你们的工作就是被口头辱骂。”这些人嘴里说出的话，你只能坐在那里看着他们，心想：哇。

SACCO 你可以有那些亿万富翁，可以有模特，但你必须得有变装皇后，必须得有冲浪男孩、艺术家和作家。I 想要音乐家。我不想要一个房间里全是同一类人。

STING 任何在城里的音乐家或演员最终都会去 Bungalow 8。所以，你会看到所有路过这座城市的人。那里有一群令人惊叹且多元的人。

DISCO 然后你还会遇到我所谓的 TFB。TFB 就是信托基金宝贝（trust fund babies）。

TABACH-BANK 她不想要任何好奇围观的人。她不想要那些索要签名的人。那里没有 VIP 室，没有私人区域。那里就像一片“无人区”，那些极其精致的女孩在二月的街道上瑟瑟发抖地站着，就为了能进去。这就是它所创造的那种氛围。

萨科：我记得有一个晚上，所有人都在说：“Lady Gaga来了。Lady Gaga来了。”而我心想：“嗯，我还没看到她呢。”结果我竟然在她旁边坐了两个小时，因为她当时就——她的原名是什么来着？斯特凡妮！大卫·拉夏佩尔和他的朋友斯特凡妮在那儿，我一直在和斯特凡妮聊天。她简直不能更友好了。

吉布森：珍妮特·杰克逊！她当时在拍电影，其中一名女服务员和她在同一所表演学校学习。珍妮特问能不能进来学习怎么当调酒师。在向公众开放前15分钟，她进来了，我们教她如何调制西瓜马提尼。她是个好学生。

萨科：帕里斯和妮基（希尔顿）。那时候的整个圈子：凯西（约翰逊）、拉希达·琼斯，还有莱昂内尔·里奇的女儿妮可·里奇。那是他们在拍真人秀之前的事。然后因为那些孩子、洛特以及我合作的艺术家们，温纳一家、斯诺一家和施纳贝尔那帮人也来了——罗拉、斯特拉、维托。天呐！那帮人会出现在那儿，而我父亲可能在房间的另一头。你可能会看到德蕾娜·德尼罗和罗伯特·德尼罗在场，但两人都不知道对方也会来。费尔特斯：还有娜奥米·坎贝尔、波诺。所有人都去了，有些人甚至会一直待到凌晨6点才结束这个夜晚。

吉布森：艾米非常投入。她很少缺席任何一个晚上。她需要有人提醒她照顾好自己。确实有些夜晚有人会说：“今晚留在家里吧，你需要休息。”

萨科：我连续30天没有休息过，精疲力竭，我的员工说：“去吧，我们能搞定。”然后我接到一个电话：“艾米，乔治·克鲁尼来了。”我刚从蒸汽淋浴和按摩浴缸里出来，脸上还敷着绿泥面膜。

我当时想：“别开我玩笑了。他为什么会来这儿？我不认识他。太荒谬了。”但我还是说：“好吧，我去换件衣服就过去，如果他不在那儿，我就把你们给开了。”我穿着运动裤出现，耳朵上还残留着一些面膜——乔治说：“噢，你耳朵上有点东西。”然后我看到了兰德·格伯，他们邀请我一起坐，并买了一瓶酒。我说：“让我请你们喝一杯。”他们说：“不，让我们请你喝一杯。”现在想起来很有趣，因为我对兰德·格伯更感兴趣——我想向他请教。我当时心想：“噢我的天，兰德·格伯，兰德·格伯。”乔治则说：“好吧，这还是头一次。”

约翰逊：Bungalow最火的时候，有个家伙出现在店门口。Disco请艾米出来看看是否认识他。我问她：“你跟他说了什么？”她回答：“我直接给了他两个25美分硬币，因为他一直说自己叫50 Cent。”那就是说唱歌手50 Cent。不确定他最后进去了没有。

利：我曾服务过王子（Prince），他在打烊前刚进来——穿着高跟鞋，全套造型——他点了一杯红葡萄酒，并要求配一根吸管。他不想让牙齿变红。从来没有人这么要求过，但既然你是王子，那就没问题！

演员萨姆·洛克威尔：有一个晚上，我和克里斯·梅西纳、哈米什·林克莱特，以及伟大的米哈伊尔·巴里什尼科夫一起在Bungalow 8。

萨科：麦当娜来过几次，但我们不敢直接坐在麦当娜身边。你必须经过介绍，而且得询问35个人才能成行，所以这种情况从未发生。

伊曼：[我邀请格蕾丝·琼斯和我一起去Bungalow。] 格蕾丝和艾米在那晚相识，凌晨3:30时我说：“好了，我得回家了。”格蕾丝说：“你竟敢抛弃我？”紧接着她说：“走开。艾米现在是我最好的朋友了。”第二天，艾米打电话给我说：“你绝对不敢相信。我们一直待到四点，然后我得关店，她陪着我，然后我们离开俱乐部，警察看到了格蕾丝——当然，他们立刻大喊：‘嘿，格蕾丝！’”他们直接护送她回了公寓！

萨科本人就是吸引力所在。她通过让每一个到来的人——包括在那里工作的人——都感到自己属于一个部落，从而掌控了全场的权力。

朗森：在整个夜店文化中，她是极少数一个没人能说出坏话的人。这很罕见。

乔治·克鲁尼（演员）：她身材高挑，美丽且聪明，而且酒量能把我们所有人都喝趴下。在那个年代，这绝对是个了不起的本事。

赛克斯：她就像个斯文加利式的幕后操盘手，总是把人们撮合在一起，总是介绍人们认识，这太神奇了。

德尔·托罗：去看《卡萨布兰卡》吧。汉弗莱·鲍嘉在 Rick's Café 的样子——那就是 Bungalow 8 的艾米·萨科。

福斯·维拉雷亚尔：艾米还像个保姆。我记得那些年轻女孩们进来，比如林赛·罗韩、帕丽斯·希尔顿——她就像是她们的“艾米阿姨”。

塔巴奇-班克：如果那里出现什么猥琐男，她会非常乐意把他们踢出去。她真的很照顾那里的女性。

伊曼：我希望我的女儿如果能经历 Bungalow 那个时代就好了，因为我知道在那里她会得到照顾，作为一个女孩会感到安全。

斯汀：这家俱乐部旨在保持排他性，但感觉却很包容。也许这仅仅是因为她的个性。我们总觉得在那里像在家里一样。演出结束后我们总会去那里。

塔巴奇-班克：感觉就像是纽约版的最纯正的《Cheers》（酒吧）。

吉布森：那时房间里的创造力如此之强。不仅是那些到访的人——音乐、时尚、艺术、出版界最重要的人物，你还能遇到极具创造力的员工，他们本身就是舞者、歌手和艺术家。

德尔·托罗：房间里的那种能量！这一切都始于那些员工，他们——或者说看起来——和客人们一样热爱待在那里。

萨科：Disco 在那里结婚了。他在门口遇到了他的妻子娜塔莉，坠入爱河，我在那里为他们举办了婚礼。

Disco：我们有个以前一起工作的同事，马修，是个设计师。一旦他听说我要结婚，他就说：“Disco，剩下的交给我。” 结果非常美。整个团队都照顾我——瞧，就这样。

弗林：我确实帮他准备了衣服，但这并不容易，因为他不是个苗条的家伙。

塔巴奇-班克：我在那里过了 30 岁生日，我父亲特意飞过来参加。艾米用她那沙哑的声音说：“他长得真帅。我要做你的下一个继母了。” 我记得她走到我父亲身边，轻而易举地就迷住了他。她并没有成为我的继母，她和我父亲之间也没发生什么，但她就是拥有这种魅力和这种极其鲜明的个性。

伊曼：当我回家时，我丈夫听到电话响，就知道电话那边是艾米，她在问：

“你到家了吗？”

萨科：其实我根本没有个人生活；我没时间约会。我觉得那些关于我和名人的传闻非常有趣，因为我和相当多的人是朋友，但我从未和他们约会。我从未和贝尼西奥·德尔·托罗约会。他只是我认识的最伟大的人之一。我们经常一起混。乔治 [克鲁尼] 也是一样，凯文·科斯特纳也是一样，连姆·尼森也是一样。我们都只是朋友。我宁愿让他们永远留在身边，也不愿与任何人建立一段如果失败了会玷污未来的关系。

弗林：对我来说，Met Ball 总是最累的。我得在那段楼梯上走一百遍。但我之后把所有人都带到了 [Bungalow]。我会换上我的齐柏林飞船 T 恤和破旧的机车靴。凯特·博斯沃思、林赛、伊娃 [门德斯]、莉芙 [泰勒]、玛丽-凯特和艾希莉 [奥尔森]。她们都会说：“你能不能跟我换衣服？我快死掉了。” 我会穿上她们的礼服，把我的衣服给她们，穿着她们 4 英寸的高跟鞋走回 [位于] Horatio 街的 [公寓] 换衣服，然后穿着自己的衣服回来。最后一次我去的时候——第八次回去——我带上了所有的太阳镜，没错，我们确实需要它们。

2008 年 Met Gala 之后，参加者们前往 Bungalow 8 参加克鲁尼的生日派对。对许多人来说，那是这家俱乐部历史上最精彩的一夜。

DISCO 我记得有一次派对——我不记得是谁的生日了，但我走进去的时候，不知道她是怎么做到的，Bungalow 里面竟然有一架小型三角钢琴。我坐在那儿心想：“搞什么鬼？”如果我没记错的话，约翰·梅耶（John Mayer）和弗吉（Fergie）当时正在唱生日快乐歌。

SACCO 约翰·梅耶唱了，这个我知道。但我不认为我们那里有小型三角钢琴。当时每个人都很有名，超级有名。是我开玩笑地请 FDNY（纽约市消防局）的人把蛋糕[上面插着 47 根蜡烛]送进来的。

万达·麦克丹尼尔（WANDA McDANIEL），前乔治·阿玛尼（GIORGIO ARMANI）娱乐公关主管：当晚最精彩的一幕是，不情愿地成为寿星的乔治·克鲁尼（George Clooney）向我倾过身，冷冷地问：“嘿，万达。米克·贾格尔（Mick Jagger）为什么会在我的生日派对上？”

MOONVES 感觉那是只有在那里才会发生的事情。再次强调，天知道我们是怎么进去的——几个助手在 Met 博物馆工作完，穿着 Met 的制服，直接闯入了 Bungalow 8 的 After-party。

萨科（Sacco）的成功激励了夜生活领域的一批竞争对手。BED 俱乐部于 2004 年在同一个街区开业，随后更多俱乐部相继出现，包括 Pink Elephant。Marquee 则开在第 10 大道和第 27 街的拐角处。随着警力的增加，该区域变得难以管理，通行也变得令人不快。正是在这种混乱和过度饱和的环境下，这个曾经的热点开始冷却。

SACCO 他们在垃圾桶里发现了一个死掉的女孩，她之前一直在[那里]参加派对。第 27 街开始变得像个动物园。就像一群失控的野兽，因为街道太拥挤，人们直接在车顶上走，随地小便，到处是垃圾，打架，偷窃。那是一段极其糟糕、糟糕透顶的时光。

DISCO 那时大约有 12 家俱乐部，而且全部集中在三四个街区的半径范围内。街道两边都设有金属栅栏，你根本没法横穿马路。

SACCO 每个人都想分一杯羹，这让我想起一个遗憾，那就是我从未能从那些人手里买下那个空间，因为如果我买下来了，我们现在可能还在……谁知道呢？也许我们还拥有它，或者我会以不同的方式开发它。

MOONVES 现在在谷歌上搜索 Bungalow 8 真的很有趣，你看到的只有开灯后的样子，然后你会觉得，那根本不是它。完全不是那么回事。

TABACH-BANK 它在晚上看起来很迷人，但有时到了深夜，当人群散去，你会觉得，噢，这其实就只是个房间。

2009 年，Bungalow 8 永久关闭，结束了其传奇的经营历程。

SACCO 不要忘了，夜总会以前就不是长久之计。通常也就开两年，三年。

DISCO 纽约大多数夜生活场所，顶多四年。

SACCO 2010 年租约到期。我想翻新，我们正在重新谈判，结果他们开出了一个极其离谱的租金。我说去他妈的，我根本不回来了。我感到解脱，但也很沮丧。那是极其苦乐参半的。

STING 我可以想象，艾米（Amy）每晚工作到凌晨时分，一定会感到精疲力竭。我想在某个时刻，她不得不说：“好吧，我再也做不下去了。”

FELTES 艾米店的成功吸引了所有这些人，他们觉得：“既然她能那样做，那我们也开一家。”但这就是规律。好事不会长久。

JOHNSON 有人恳求她在拉斯维加斯开店。她需要一个商业伙伴。她本可以永远成功。她本可以统治世界。让 Bungalow 8 开遍全球。

SACCO 现在看到[俱乐部]在我的手机上贴胶带（遮挡摄像头）时我会笑，因为——重点是——我们从不邀请那些会[给别人拍照]的混蛋。

DEL TORO 你可以独自走进去而不会觉得自己像个陌生人。[那里有]对顾客的刻意筛选。一个让不同年龄、种族和阶层的人聚集在一起的生态系统。在纽约，我已经不知道还有哪里能创造出那种“sancocho”（大杂烩）般的氛围了。

霍尔斯坦：现在那种不让抽烟的疯狂要求毁掉了对话的艺术。而且这话还是由一个基本上不抽烟的人说出来的。我认为我们需要反抗。而且还要禁止使用手机。[我这么说的时候] 正盯着手机。独自一人。而我的丈夫在享受他的晚餐。

弗林：我想说的是：那是一次优雅的退出。赛克斯：我几年前在伦敦见过她，她完全没变。不过，我不知道她现在在做什么。

萨科：我把它抛在脑后，再也没有回头看。

伊曼：我们每隔几周会一起吃顿晚餐……她会和餐厅里一半的人聊天，尽管她根本不认识他们。每个人都会向她敞开心扉。

福斯·维拉雷亚尔：现在人们对社交媒体和 AI 狂潮之前的生活充满了浓厚的兴趣。我非常希望在这种环境下能出现一个 21 世纪版本的 Bungalow 8。

约翰逊：艾米可以随心所欲地做任何事。但世界已经改变了。现在的世界发生在社交媒体上。

里佩特：我记得有一天晚上，她邀请她的母亲来看 [俱乐部]。她非常自豪地向家人和朋友展示她所创造的一切。我们为她感到非常高兴。她是个如此善良的人；我们希望她成功——但我们没预料到会变成这样。我们没想过她会成为纽约的名人——不只是夜生活圈的，而是整个纽约的。

萨科：在过去的五年半里，我一直在护理和照顾我的母亲。她于 12 月去世了。我没有在 Instagram 上发布任何内容，因为我们举行了私人的家庭仪式。她活到了 96 [岁]，我按照她的意愿让她留在家里。而且我非常高兴，因为这是我人生中第一次不需要工作。能够拥有那段时间是一件美好的事情。

迪斯科：前几天我告诉我的妻子，我现在在一家场馆工作，但当我准备去上班时，我不开心。而在 Bungalow 时，我是欣喜若狂的。我渴望到达那里。VF

马克·雅可布斯

：无论我当时选择什么样的药物，或者在 Grindr 上一个晚上约了多少个男人，我真的不在乎。”

他承认这种坦率是有回报的。“诚实让我感觉很好。”

2019 年，雅可布斯与前模特查尔·德弗朗切斯科（Char Defrancesco）结婚，她似乎为雅可布斯的生活带来了一种宁静感——一种和谐感。他们共同居住的弗兰克·劳埃德·赖特（Frank Lloyd Wright）风格住宅距离曼哈顿中城约一小时车程。“如果你在 10 年前问我马克是否会想住在城市以外，我会说绝无可能，”德弗朗切斯科说道。“但现在我没法让他离开。位于赖（Rye）的家已经成了他真正的避风港。他热爱安静，热爱被自然环绕，而且不知怎么地，他变得完全痴迷于喂松鼠和花栗鼠。我很确定，威斯特彻斯特[县]最近花栗鼠数量的激增，我们得负个人责任。”

他向我提到，他一直在和他的心理治疗师交流。他一直在思考自己的发展轨迹和成功，比如垃圾摇滚（grunge）风格，以及当人们与文化相连并处于他所说的“同步”状态时，神奇的时刻是如何发生的。Charli xcx 将他与音乐家约翰·凯尔（John Cale）和电影制作人马丁·斯科塞斯（Martin Scorsese）一起放在了她的新专辑《Music, Fashion, Film》的封面上。她曾通过私信邀请他参与。“我喜欢她这个人，也喜欢她作为艺术家的才华，”雅可布斯说——和自己一样，Charli 属于那种能够捕捉瞬间、实现同步的头脑。

雅可布斯与文化的关系就像一面镜子；他给予的多与接收的多一样。他经常去剧院，参加电影和电视的首映礼，漫步于艺术画廊，并在 Instagram 上记录他在赖家中阅读的每一本书。无论通过何种媒介，他总有一种方式能与当代的艺术家们产生共鸣。

“一旦那个时刻结束，并不意味着[艺术家们]不能创作出伟大的作品，”他说，虽然是在泛泛而谈，但似乎是在指现在的自己。“并不意味着他们不能做有趣的事情。并不意味着他们所表达的内容将不再相关。只是，在那之前存在一个真正完美的契合点。”

对于雅可布斯来说，路易威登（Vuitton）就是那个契合点。他在那里的任命是欧洲时装屋聘请美国设计师这一日益增长的趋势的一部分——最著名的例子是塞琳（Celine）的迈克尔·考斯（Michael Kors）和罗意威（Loewe）的纳西索·罗德里格斯（Narciso Rodriguez），雅可布斯在欧洲的任职时间比这两位都要长。

他最终在 2013 年离开路易威登，标志着他对同名品牌的重大押注，或许这个品牌能比路易威登规模更大。“他本应成为下一个拉夫（Ralph）、卡尔文（Calvin）或唐娜（Donna），”《纽约时报》时尚评论员兼时尚总监瓦妮莎·弗里德曼（Vanessa Friedman）表示。“他是美国时尚的巨大希望。”但这从未真正实现。

奢侈品行业通过将最受推崇的时装屋交给才华横溢的设计师来给予奖励，但这些设计师最终陷入了一种“镀金笼子”中，无法将足够的创造力投入到最初让他们成名的事物上——即他们自己的品牌。雅可布斯与其他受雇于 LVMH 但仍经营自己品牌的设计师（例如亚历山大·麦昆和约翰·加利亚诺）一样，被困在这种安排的紧张关系之中。

另一个棘手的问题是他的副线 Marc by Marc Jacobs。该系列曾大获成功且深受粉丝喜爱。“当‘by’系列存在时，它拥有我们后来所熟知的‘雅可布斯精神’，”雅可布斯说道。但雅可布斯表示，由于百货公司的采购商对其指手画脚，它演变成了某种他无法认同的东西。by 系列在 2015 年被并入品牌的主线。“所以那在某种程度上是它悲剧性的终结，”他说，“从那时起，我们继续推出价格更亲民的包袋和服装，但我们一直很难让那种感觉回归正确。”（达菲在同年卸任在雅可布斯公司的职务。如今，他不再参与该公司事务。达菲未就本报道的置评请求做出回应。）

戈德法布告诉我，他致力于重新推出 by Jacobs 系列。“我们认为这是至关重要的，”他说。他透露了许多关于一项交易的细节，而这项交易在本文发表前可能还无法达成，于是他意识到自己说多了。“我想你现在了解的情况甚至比我自己的员工还要多。我基本上是在告诉你一些尚未最终敲定的事情。”

戈德法布想要什么似乎足够明确，但雅可布斯想要什么？从他那不断变化的形象中未必能得到答案。他曾是一个书卷气十足、圆润的时尚设计天才学生，毕业后变成了一个长发、前卫的纽约 20 多岁纤细青年（twink）。他尝试过书呆子式且腼腆的风格，戴着眼镜，甚至有一次戴着颈托——那是遛狗意外导致的结果。他也曾强壮且古铜色，像汤姆·芬兰（Tom of Finland）笔下的“肌肉女王”——穿着紧身保暖衫和苏格兰裙——他在 2008 年为《纽约客》拍摄内衣照，并在 2010 年为一款男士香水广告全裸出镜。

在第二次进入康复中心治疗后，雅可布斯开始健身。有人称赞他的小腿肌肉。“我想，‘好吧，我绝对不会把它们遮起来，因为它们是我的资产，’”他笑着说。他说他想要一个“看起来像直男”的男朋友，这个想法让雅可布斯和他的公关迈克尔·阿里亚诺都轻笑了起来。

到了 50 多岁时，他成了公认的“zaddy”（极具魅力的成熟男性），进入 2020 年代后风格更加女性化，将西装换成了瑞克·欧文斯的皮革高跟靴和短波波头。

最近，雅可布斯戴上了长长的、发出咔哒声的亚克力美甲，俨然一位真正的时尚权威，现在他偏爱其日益增加的粗花呢夹克收藏。他用银色美发夹固定着烫发，正如安娜·韦扬特在这里记录下的那样。

这位最伟大的美国设计师在封面上也穿着香奈儿。雅可布斯是时尚及其同行设计师们毫不掩饰的拥趸。他不介意公开表达对时尚的热爱，购买并穿着它。他过去常买卡尔·拉格斐的夹克，但现在他收集马修·布拉齐的作品。“我从未为了买一件衣服如此费劲，”他向我提到一件豹纹单品，他为了得到它尝试了很久，该单品在今年早些时候由哈里·斯泰尔斯穿着。（在本文付印时，这件夹克已送到他手中，他通过 Instagram 帖子记录了此事。）

雅可布斯这种变换风格的天赋在某些人看来可能是犹豫不决。但我将其视为一种真诚的自我品牌重塑行为，这已成为他最终的标志。随着他的系列作品顺应时代的风向而改变，雅可布斯永远拥有他自己。多纳泰拉·凡赛斯有她的漂白金发，拉格斐有他的马尾辫和露指手套，而雅可布斯则拥有他在任何给定时刻所痴迷的一切。

“关于他始终不变的一点就是他的开放心态，”模特凯亚·格伯在谈到雅可布斯永恒的好奇心时说道，这种性格特质同样定义了他的系列作品。科波拉说，雅可布斯依然是她在 90 年代遇到的那个“甜美且敏感的人”。“他拥有一个每个人都想成为一部分的世界，”他的朋友、偶尔的灵感缪斯以及同样在小报风波中幸存的希尔顿说道。“对我来说，[他]变得更加了解自己，”吉吉·哈迪德说，“更加平静，也许更有界限感了。”

在帕森斯设计学院（Parsons）就读期间，雅各布斯获得了一项以佩里·艾利斯（Perry Ellis）命名的奖项，而他后来便执掌了该品牌。

“在20年里，他经历过大约七家不同的公司；他改变，他周围的一切都在改变，”自2007年起就与雅各布斯共事的人阿利亚诺（Ariano）说道。“但在个人层面，就像是他的外在改变了，但他本人从未改变。他还是那个人，只不过有时是戴眼镜的胖子，有时肌肉发达，或者戴着假发，或者做了美甲，”他笑着说，“或者随便什么样子。”

“这非常具有流行感，”弗里德曼（Friedman）说，“然后它就会像一个小气泡一样砰地破掉。”

雅各布斯一直在前行。这或许是雅各布斯最持久的遗产：他对时尚作为一门学科的坚持与投入，以及对创意作为一种实践的执着。

“[有些人拥有]一种无法解释的热情，[这种热情]即使在最糟糕的时刻也会驱动他们，”曾为雅各布斯工作多年、现任 Marni 创意总监的梅里尔·罗格（Meryll Rogge）表示。“而我倾向于认为，马克就是这种热情的最纯粹的典范。”

“所有设计师都必须意识到，如果你能做出优秀的作品，你就能生存下去，”布朗（Browne）说。“他在于他了解并热爱时尚，并且以此进行设计，这一点始终如一。”由于美学风格的巨大差异，雅各布斯的系列作品经常被认为缺乏一致性。但大多数时候，它们深受喜爱。正如布朗所说，“马克一直以来都在做出优秀的作品。这就是为什么人们想看看他会做些什么。”

他在2020, 年推出了 Heaven，该品牌在 Z 世代中大获成功并一直运营至今，尽管热度有所下降。疫情之后，他的作品再次发生转变。其 T 台系列的覆盖范围开始缩小，仅在 Bergdorf Goodman 以及现在的日本伊势丹（Isetan）销售，雅各布斯称这是为了“那些真正想要这些东西的少数精选人群”。雅各布斯还开始按照自己的时间表举办通常一年两次的 T 台秀。作为一名永远的时代精神低语者，雅各布斯或许主要是在与自己对话。

粉丝和评论家都认为，雅各布斯依然有能力以时尚救世主的姿态回归。问题在于，这是否是他想要的事情。

六月的最后一周，雅各布斯站在纽约公共图书馆，抽着电子烟。这是他的 2027 春季秀，也是自公司消息传出以来他的首次表态。时间完全由他决定；其他所有人将在九月展示他们的系列。他召集了一群与自己形象相符的观众：像时尚编辑格蕾丝·科丁顿（Grace Coddington）这样半退休的传奇人物；像米基·博德曼（Mickey Boardman）和安德烈·沃克（Andre Walker）这样长驻于市中心的标志性人物；以及从演员朱莉娅·福克斯（Julia Fox）到剧作家杰里米·O·哈里斯（Jeremy O. Harris）等时尚圈红人。德弗朗切斯科（Defrancesco）就坐在他们中间的前排。

这场秀既是一曲天鹅之歌，也是一次预告。他能成功开启下一个时代吗？

后台气氛显得紧张，但雅各布斯却在嬉闹：他爬上一名员工的背上以逗模特开心。其中一名模特穿着一件印有他那著名的裸体香水广告的 T 恤出现，于是他叫来 VF 的摄影师拍了一张照片。

“马克懂这个，”几年前进入“雅各布斯宇宙”的福克斯说。“我觉得他捕捉氛围的速度非常快，”她说。“不知怎么地，他总是知道这个女孩想要什么。”

几周后回到他的展厅，雅各布斯显得完整且平静。早些时候，他承认许多美国人是通过手袋或香水瓶上的名字来认识他的。对他来说这不是问题，只要这些手袋能反映出他的创意精神。

如果出售交易达成，雅各布斯将在创立品牌以来第一次成为新所有者的雇员。他将继续担任其创意核心，并且可能仍会设计 T 台系列。但无论他的角色呈现何种形式，马克·雅各布斯永远不仅仅是那个名为“马克·雅各布斯”的标签。

“马克从未真正试图成为除他自己以外的任何人，”格伯说道。或许是因为雅可布斯已经没有什么需要证明的了。“我相信他意识到了大家对他依然保持的尊重，”布朗说。“我希望他能完全按照自己的意愿去做。”

无论他的未来是在 T 台之上还是之外，是在苏豪区还是在赖市，是穿着香奈儿的粗花呢外套还是一件黑色连帽衫，他大概率都能圆满收场，因为每个人都在为他加油，而且这也是雅可布斯在经历多次人生转折时一直以来所做到的：稳稳落地。VF

约翰·加利亚诺

时尚界最坚韧不拔的叛逆者与 Zara 达成了新的合作——并拥有一颗四处漂泊的灵魂

你心目中的完美幸福是什么？一个想象力、工艺与情感同时抵达的转瞬时刻，通常发生在凌晨三点。

你最想拥有什么样的才华？能跳出优美的舞蹈。

你最常过度使用哪些词汇或短语？“我的亲爱的们（My darlings）”。

你最大的恐惧是什么？在我的有生之年，见证我们未来的缓慢侵蚀。

你最认同哪位历史人物？流浪艺术家。也许像迪亚吉列夫那样——将非凡的灵魂聚集在一起，创造出此前并不存在的世界。

你最厌恶他人身上的什么特质？伪装成精致的残酷。

你最大的奢侈是什么？时间：去观察，去倾听，去沉浸在研究之中。

你最喜欢的旅程是什么？夜晚在城市中匿名行走。

你最不喜欢自己外貌上的什么地方？它在我意识到之前就揭露了疲惫。

你最喜欢的虚构英雄是谁？堂吉诃德。

你最大的遗憾是什么？ 那些恐惧盖过爱意的时刻。

你会偶尔撒谎吗？ 在保护一个尚未准备好公开的梦想时。

你何时何地最快乐？ 在工作室里，在演出前的后台，被混乱与可能性所包围。

如果你能改变自己的一件事，会是什么？我会更频繁地让内心的批判者安静下来。

如果你死去并转世为人或物，你认为会是什么？一只追逐光线的飞蛾。

如果你可以选择转世，会是什么？另一个世纪的弗拉门戈舞者。

你最珍视的财产是什么？我的速写本。

你认为最深层的痛苦是什么？在拥挤的房间里感到孤独。

你最看重朋友身上的什么？ 忠诚和恶作剧般的幽默感。

你最喜欢的作家是谁？ 普鲁斯特、热内、田纳西·威廉姆斯、科克托、安吉拉·卡特。

你最喜欢哪些名字？ 带有诗意的名字——露易丝、卡门、塞巴斯蒂安、帕洛玛。

你想住在哪里？在巴黎、安达卢西亚和一场梦境之间。

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140 A SINGULAR MAN How Haider Ackermann is seducing the fashion world at Tom Ford. By JOSÉ CRIALES-UNZUETA Photographer SEBASTIÁN FAENA

142 OH LA LA! LALANNE! Hippos and sheep and birds, oh my! Venturing into the zoomorphic world of the creative elites' favorite artists: Les Lalanne. By MARISA MELTZER

154 FLOW STATE Chemena Kamali and her fleet of easy breezy muses are keeping the dream of bohemia alive and well at Chloé. By JOSÉ CRIALES-UNZUETA Photographer SEBASTIÁN FAENA

158 THE 8 BALL You've got a key. Go inside Bungalow 8, the exclusive early-aughts Chelsea nightclub that defined a bygone era. By DEREK C. BLASBERG Photographer TODD EBERLE

ON THE COVER Anna Weyant, Marc Jacobs, 2026, oil on canvas, 19 $^{15}$ / ${16}$ in. by 16 $^{1}$ / ${16}$ in. © Anna Weyant. Courtesy of Gagosian.

BRUNELLO CUCINELLI

“...and then we came forth to see again the stars”

Dante

VANITY FAIR

MARK GUIDUCCI Global Editorial Director

Deputy Editor CLAIRE HOWORTH Global Creative Director JENNIFER PASTORE VP, Global Content Strategy DANIEL KILE

Executive Editors MAGGIE COUGHLAN, ADRIENNE GREEN

Features Editor HILLARY BUSIS Senior Editors CAITLIN DICKSON, LINDSEY UNDERWOOD

SVP, Global Head of Talent ALISON WARD FRANK Director of Special Projects SARA MARKS West Coast Editor JOHN ROSS

Washington Correspondent AIDAN McLAUGHLIN Style Correspondent JOSÉ CRIALES-UNZUETA

Art Correspondent NATE FREEMAN Tech & Money Correspondent JULIA BLACK Senior Hollywood Correspondent REBECCA FORD

Senior Staff Writers MAXWELL ADLER, TA-NEHISI COATES, MARISA MELTZER, ELISE TAYLOR

Staff Writers DAN ADLER, CLARA MOLOT, CHRIS MURPHY, ERIN VANDERHOOF, SAVANNAH WALSH, KASE WICKMAN

Associate Editor DANIELA TIJERINA Entertainment Director CAITLIN BRODY

VP, Communications NINA JOYCE Senior Director, Communications CAROLINE BROOKS

Special Projects Manager ARI BERGEN Assistant to the Global Editorial Director ABIGAIL SYLVOR GREENBERG

Special Correspondents

DEREK C. BLASBERG, JOE HAGAN, MAUREEN ORTH, JAMES POGUE, JOY PRESS, MARK SEAL, GABRIEL SHERMAN

Design & Photography

Global Visuals Director ROXANNE DOUCET Senior Design Director JUSTIN PATRICK LONG Visuals Director CATE STURGESS

Art Director EMILY CRAWFORD Senior Visuals Editors NATALIE GIALLUCA, DONDRE STUETLEY

Senior Designer KHOA TRAN Visuals Editor, Photo Research ERIC MILES Visuals Editor MADISON REID

Fashion

Fashion Director NICOLE CHAPOTEAU

Accessories Director DAISY SHAW-ELLIS Menswear Director MILES POPE

Senior Fashion Market Editor KIA D. GOOSBY Assistant Fashion Editors GRACE CONNAUGHTON, CHARLIE JOHNSON

Audio, Social & Video

VP, Global Audio STEVEN VALENTINO Executive Director, Global Video ELLA RUFFEL Global Director, Social CARLY WALSH

Senior Director, Creative Development CLAIRE BUSS Director of Video Content NATASHA SOTO-ALBORS

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Senior Manager, Creative Development HANNAH PAK Creative Producers MADISON COFFEY, ADAM LANCE GARCIA

Manager, Social EMILY DENTINGER Coordinating Producer EMEBEIT BEYENE Coordinator, Social WENGEL BEKELE GEMU

Copy, Research, Production & Audience

Executive Director, Global Operations and Audience MARTINA NAVRATIL Senior Counsel TERENCE KEEGAN

Production Director J JAMERSON Senior Director of Copy & Research DAVID GENDELMAN Copy Director MICHAEL CASEY

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Online Director of Copy & Research RACHEL FREEMAN Legal Affairs Editor SIMON BRENNAN

Director, Analytics NEELUM KHAN Production Managers SUSAN M. RASCO, ROBERTO RODRÍGUEZ, HOLLIS YUNGBLIUT

Research Managers BRENDAN BARR, KELVIN C. BIAS, MICHAEL SACKS Copy Manager MICHAEL QUIÑONES

Audience Development Manager BRANDON LEUNG Associate Web Producer KENNEAL PATTERSON

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Head of Film & TV HELEN ESTABROOK VP, Development & Production SARAH AMOS

Vanity Fair Global

European Editorial Director & Head of Editorial Content, Italy SIMONE MARCHETTI

Head of Editorial Content, France OLIVIER BOUCHARA Head of Editorial Content, Spain ALBERTO MORENO

Contributing Photographers

ANNIE LEIBOVITZ

JONATHAN BECKER, ETHAN JAMES GREEN, NORMAN JEAN ROY, MARK SELIGER, TARYN SIMON

Contributing Editors

KURT ANDERSEN, LILI ANOLIK, CHRISTOPHER BOLLEN, MARIE BRENNER, DOUGLAS BRINKLEY, BRYAN BURROUGH,

LACHLAN CARTWRIGHT, ADAM CIRALSKY, SLOANE CROSLEY, JANINE DI GIOVANNI, LISA EISNER, DAVID FRIEND, PAUL GOLDBERGER,

ADAM LEITH GOLLNER, VANESSA GRIGORIADIS, CAROL BLUE HITCHENS, JACK HOLMES, MAY JEONG, SEBASTIAN JUNGER, SAM KASHNER, TOM KLUDT,

HILARY KNIGHT, WAYNE LAWSON, KIESE MAKEBA LAYMON, FRANKLIN LEONARD, MONICA LEWINSKY, WILLEM MARX, BETHANY McLEAN,

KATIE NICHOLL, LORRAINE NICHOLSON, JEN PALMIERI, ANNA PEELE, EVGENIA PERETZ, MAXIMILLIAN POTTER, JAMES REGINATO,

ROBERT RISKO, LISA ROBINSON, MARK ROZZO, NANCY JO SALES, ELISSA SCHAPPELL, JEFF SHARLET, MICHAEL SHNAYERSON,

CHRIS SMITH, KAREN VALBY, DIANE VON FURSTENBERG, ELIZABETH SALTZMAN WALKER, BASIL WALTER, JESMYN WARD, JULI WEINER

In Memoriam

DOMINICK DUNNE, A.A. GILL, TIM HETHERINGTON, CHRISTOPHER HITCHENS, JOHN HOMANS, WILLIAM LANGEWIESCHE, HELMUT NEWTON, HERB RITTS, MICHAEL ROBERTS, GAIL SHEEHY, INGRID SISCHY, GORE VIDAL

RALPH LAUREN PINK PONY

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Globally, at least 25 percent of the purchase price from the sale of each item in the Pink Pony collection is directed to an international network of cancer charities; within the United States, proceeds benefit the Pink Pony Fund of The Ralph Lauren Corporate Foundation.

Learn more about the foundation at corporate.ralphlauren.com/foundation.

$$ \text { SPECS } $$

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Eleven years ago yesterday, Donald Trump lit upon the border town of Laredo, Texas, wearing for the very first time a baseball hat

that declared, begged, demanded: MAKE AMERICA GREAT AGAIN. It was white with navy embroidery—the more zealous red came later—with a brim just as wide and flat as a grandpa’s golfing cap. In the prelapsarian days of 2015, when our would-be dictator was mostly a punch line, hipsters in Williamsburg started wearing MAGA hats as a joke. They sold out on Trump’s official website and at the store in Trump Tower. “Trump’s Campaign Hat Becomes Ironic Summer Accessory,” Ashley Parker reported in the New York Times Style section.

One decade, one year, and one day later, the red cap has become the red line of our divided society: Wear it and you are either embraced or shunned. There is no neutral reaction—even in Spain. Ferran Torres, the Barcelonan forward who scored the championship-clinching goal in the World Cup final, wore a red “Make Spain Great Again” cap during a victory parade in Madrid, sparking retweets from the White House and derision in El País. Today, the president distributes MAGA hats from the Oval Office Study, which he maliciously calls the Monica Lewinsky Room and operates like a theme park gift shop. (Payment is accepted in the form of crypto and Boeing 747s.)

There could hardly be a more vivid example of what front-row habitués call the “power of fashion.” By that, we—yes, I consider myself a card-carrying fashion person—mean that clothes don’t just conceal the body, they reveal the mind. They can express individuality or, more often, collectivity: I am this kind of person; I belong to that tribe. And MAGA understands that better than anyone. Certainly better than the Democrats. You might call it the fashion of power.

So begins Vanity Fair's 2026 Style Issue. Pulitzer Prize-winning critic Robin

MARK GUIDUCCI

Givhan picks up on this idea in “Radical Chic” (page 68), which posits that MAGA has hijacked fashion to evangelize its own rigid, retro vision of America, particularly in her hometown of Washington, DC. There are only two genders but many ounces of hairspray.

Elsewhere in this issue, my former Vogue colleague Tonne Goodman and the photographer Luis Alberto Rodriguez offer a modern take on classic American style archetypes: hippies, suits, a society swan, and a cowboy alongside clean girls, baddies, and a looksmaxxer. My favorite group is the preppies, for which we cast nine Vanity Fair writers and editors.

What Style Issue would be complete without a Best Dressed List? Ours is not to be confused with the International Best Dressed List, the august register founded by Eleanor Lambert and steered by my predecessor Graydon Carter, with editors Aimée Bell, Amy Fine Collins (who appears in this portfolio, page 90), and the late, great Reinaldo Herrera, though we hope it carries on the original spirit. The selections were made by Vanity Fair's José Criales-Unzueta, Lindsey Underwood, and Derek C. Blasberg, who also contributed a very colorful oral history of Bungalow 8 with an even more colorful headline (“The 8 Ball,” page 158).

José wrote more than a half dozen stories for this issue—by the time you read this, he better be on vacation—including the profile of Marc Jacobs, our unconventional, undeniable cover star. Marc reinvents himself more often than Madonna (and perhaps even more successfully), and this summer began a new chapter following the announcement of LVMH’s sale of his company. This is his first extensive interview since, and Marc answered all of José’s questions with the kind of humor, candor, and resilience that reminds us why he is still our most interesting American designer. I am so thrilled that Anna Weyant, one of Marc’s favorite artists and mine, painted his portrait for our cover.

A few weeks before this issue went to print, we were discussing how Vanity Fair should mark America's 250th anniversary. We already had plans to photograph model Anok Yai, an Egypt-born South Sudanese top model and naturalized American citizen. Who better to represent the American spirit? The star-spangled images by Haitian photographer Philip-Daniel Ducasse became our July Fourth digital cover and now, by popular demand, a special print edition. You'll see that Anok wears only the US flag. Hats off to that.

Selena Forrest The Rothko Chapel, May 2026 in Houston, Texas

PHILIP-DANIEL DUCASSE "AMERICA'S TOP MODEL," P. 51

“Working with Anok always feels natural,” says Ducasse, a Brooklyn-based photographer raised in Port-au-Prince, Haiti. “She’s someone I’ve always admired, not just because she’s one of the best at what she does but because she’s a real one,” he says. “Those are the days you live for as a photographer: reconnecting with old friends and creating something that feels effortless.”

LUIS ALBERTO RODRIGUEZ

"THE UNITED STATES OF STYLE," P. 112

Prior to his career in the visual arts, photographer Rodriguez trained as a dancer, graduating from LaGuardia High School, receiving a BFA from Juilliard, and performing worldwide. Now he continues to study movement in his work, often using his subject's body in both sculptural and abstract ways. He is the author of monographs People of the Mud (2020) and O (2023).

ROBIN GIVHAN "RADICAL CHIC," P. 68

In this issue, Givhan, the Pulitzer Prize-winning writer and former senior critic at large for The Washington Post, set out to define MAGA style. "I wanted to consider what these aesthetic gestures said about gender, race, and especially power," she says. "Nothing about the look is particularly new, but it's not quite retro either. I wanted to understand where this kind of personal presentation was coming from and where it was trying to take us."

DEREK C. BLASBERG "THE 8 BALL," P. 158

"Amy Sacco didn't just throw parties—she created a world," says $VF$ special correspondent Blasberg, who compiled an oral history of Bungalow 8. "Reliving that era with the queen herself, and so many members of her court, was surreal. The deeper I got, the more I realized I wasn't just reporting on a club; I was revisiting a version of New York that shaped a generation and still feels heartbreakingly close."

SEBASTIÁN FAENA "A SINGULAR MAN," P. 140 "FLOW STATE," P. 154

For Faena, a filmmaker and photographer from Buenos Aires, photographing Haider Ackermann, Chemena Kamali, and their muses at Tom Ford and Chloé, respectively, was like seeing “old friends.” “I showed up and documented the moment honestly,” Faena says. “Haider and Chemena made it very easy.”

HILLARY BUSIS WE NOMINATE FOR OBLIVION, P. 56

“I love complaining, and getting paid to do so in writing feels like getting away with something,” says Busis, VF’s features editor and the voice of We Nominate for Oblivion. In this issue she makes the case against wearable tech—from Apple watches to Meta glasses. Previously she has nominated the term nepo baby, therapistspeak, Mercury in retrograde, and cruises.

JOSÉ CRIALES-UNZUETA "INDELIBLE MARC," P. 128

From profiling the incomparable Marc Jacobs and interviewing supermodel Anok Yai to compiling a list of today's most compelling dressers and collaborating on a fashion portfolio about American style, $VF$ fashion correspondent Criales-Unzueta put his stamp on the Style Issue. “When I came to $VF$ , fashion people asked me what exactly I planned or hoped to do at the magazine. This is it.”

TONNE GOODMAN "THE UNITED STATES OF STYLE," P. 112

In this issue, Goodman, a veteran Vogue editor, collaborated with Luis Alberto Rodriguez to capture the varying archetypes found across the nation. "The fun of this shoot was working with all the characters that were involved to show just how unique American style is: fearless individuality and unabashed freedom of expression," she says. "It celebrates our diversity, which is our greatest strength."

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Earlier this summer, as temperatures and the New York Knicks' chances of winning the NBA Finals rose, Anok Yai began to pray. At a watch party for Game 4, she picked a rosary off of a table, where it was lodged between empty beer glasses, and enlisted the other guests to infuse it with their energy. She had not prayed a rosary in some time, but the gambit worked.

Yai is a supermodel, a child of South Sudanese refugees who found safe haven in the US—an immigrant who became an iconic face of her generation. If you’ve met her, you may know that she likes to paint; you’d definitely know she’s funnier and softer than her sharp features and fierce walk

AMERICA'S NEXT TOP MODEL

Anok Yai is a talent who invites comparison to Linda Evangelista and Naomi Campbell. She tells JOSÉ CRIALES-UNZUETA about subverting expectations—and the new chapter she’s hoping to start onscreen

might imply. But you may not know that she prays, or that she was raised Catholic. Clearly she's multifaceted.

Yai is an original as well as a star who follows in the tradition of the supermodels who preceded her. She was only the second Black model to open a Prada show after Naomi Campbell became the first in 1997. Like Linda Evangelista, she's known for her chameleonic appearance, able to shape-shift depending on her current hairstyle or her assignment. In the spirit of Christy Turlington, she's industrious and eager to build a legacy that transcends her image.

At 28, Yai has graced the cover of Vogue more than a dozen times across the magazine's global editions. This year she was named one of Time's 100 most influential people. Yai was first scouted after a photo of her at Howard University's homecoming week went viral in 2017, when she was 19. This past May, when images of her 2026 Met Gala look hit social media, she found internet fame once more.

Balenciaga creative director Pierpaolo Piccioli had outfitted her as a Black Madonna in a voluminous black haute couture gown, her face gilded and accented by prosthetic tears. Yai played the part on the red carpet using the same range she uses to embody various characters on the runway: She's coy for Chanel, glamazonian for Versace, voracious for Saint Laurent. Last October she transformed into the title character of Edward Scissorhands at Vogue World: Hollywood,

It's now mid-June, and in honor of America's 250th birthday, Yai is embracing an American flag. Anok Yai is an African supermodel. Anok Yai is an American supermodel. In the land of the free and the home of the brave, both statements ring true.

When we ask her to pose alongside the American flag, she is as daunted as she is flattered. But once she holds the star-spangled banner in her arms, her demeanor transforms. Yai drapes the flag around her body and holds onto it tightly. She asks the production crew for a mirror to finesse her pose, using a trick she picked up at her first shoot with the famed fashion photographer Steven Meisel. “I always would say I’m African first,” she tells me minutes before this photo is taken. “I grew up here, so I’m American too.”

Like Yai, I am an immigrant; unlike her, I did not grow up in the United States. But we share an indelible part of the American experience: This country afforded us the space and the opportunity to become. Our generation has a contentious relationship with Americanness and its symbols, which have been co-opted by a pocket of a melting pot. It's a land of immigrants, and we're all American."

As a kid, Yai was obsessed with science and books. “My dad would force me to read dictionaries when I was in kindergarten to fifth grade, and he would quiz me on words that I learned,” she says. “If I did it, I’d get McDonald’s, so I read everything. Obviously I only wanted McDonald’s, but it helped a lot with my work ethic.”

She describes her younger self as a nerd—but a stylish one. In high school, says Yai, “I would dress crazy.” She had a pink mohawk, which seems fitting for one of modeling’s most versatile characters—someone able to sport a bald head today, 30-inch hair with a middle part tomorrow, a little pixie the day after, and a short bob that afternoon. “I’ve always been obsessed with fashion,” she says, “but it didn’t really cross my mind when I was studying to try to start modeling.” She couldn’t afford to throw caution to the wind and move to New York, “and I had tunnel vision,” she says. “I wanted to become a doctor.”

"THEY'RE LIKE, 'OH, YOU SPEAK REALLY GOOD ENGLISH!' AND I'M LIKE, 'I'M FROM NEW HAMPSHIRE, BABE!'"

channeling the essence of Johnny Depp; there, she also told me that she hoped one day to become an actor. After seeing her at the Met Gala, I believed it.

Yai's ensemble made such an impact that one of her many ardent fans had an image of her face from The Met tattooed onto his forearm. And no, that is not the first time that's happened to Yai; she knows of at least one other.

If anyone thought that the era of super-models becoming crossover stars was over—or that models couldn’t become famous without the assistance of a famous parent—Yai is here to prove them wrong. She’s not a Hadid or a Jenner; if anything, she’s more closely following the path of Karlie Kloss, who parlayed fashion-world fame into a mainstream career. Celebrity isn’t something Yai expected, or something she’s one hundred percent comfortable with. But she’s getting there. “I was shocked about the percentage of real estate that these people would give me on their bodies,” she says, laughing. “The first one felt weird. But now it’s fab.”

this country that does not always represent people like Yai or me—or those with less privilege and therefore less opportunity. A pocket that demonstrably does not want us here. But in Yai's story, and in my own as I write this today, I see the realization of the dream we were both promised.

“Growing up, I was really insecure about my skin color,” Yai says of the racism she experienced once her parents relocated her and her siblings from Egypt, where she was born, to New Hampshire. At the time, Yai was around four years old. “I was...I wouldn’t say I was bullied,” she says, “cause I fought back. But I grew up being told that my skin wasn’t beautiful.” When a lie like this becomes a constant refrain, she says, “you start to believe it.”

She never saw herself as anything other than African when she was young—she was a kid, and an ostracized one at that. But she has learned to love both her heritage and her adopted home country. “Doing this story, and doing the cover with the American flag,” Yai says, “it’s just a representation of the fact that America is

She didn't. In 2017, while enrolled at Plymouth State University, Yai went to Howard's homecoming on a whim.

“I didn’t even want to go” that weekend, Yai says. But her friend did. There was the promise of a fun time, “and cute boys.” Then her entire world changed.

“I remember when the photos started going viral. My phone was blowing up, and the first thing I thought was, Oh my God, I’m a Twitter meme,” she says of her breakout moment. “I was too scared to open my phone.” She tried to stay in college in the months that followed, “but it became almost impossible,” she says; it’s tough to attend lab when Prada’s inviting you to Paris. “I was just like, ‘Okay, I need to take this chance,’” she says. “My parents were so upset.”

Just four months after she was scouted, Yai walked her first runway show. Almost a decade later, she is one of her generation's leading models alongside Paloma Elsesser and Alex Consani, two of her closest friends.

“Anok is a star, not just because she is the most beautiful in the room, but because she knows how to command it,” says Consani. “Anok is one of a kind,” agrees Piccioli. “Not only is she a total pro and a very intelligent woman, but she also always brings something more to the table—her humanity.” For Maximilian Davis, who leads Ferragamo, Yai is “one of the greatest models of our time.”

Jawara Wauchope, the hairstylist known for his work with stars like Beyon-

cé and Rihanna, takes the praise a step further. “Anok Yai is the defining supermodel of this generation,” he says. “Her belief in others, her resilience, and her commitment are a reminder that true supermodels are not defined by the images they create, but by the impact they leave on the people around them. She’s just the truth.”

When Yai first entered the industry, she remembers some people in fashion—stylists, designers, glam teams—speaking to her slowly, as if she would struggle to understand them. “I’m obviously South Sudanese. They assumed that I would have a really strong African accent,” she says. “But then when I would talk. I sounded so New Hampshire, and they’re like, ‘Wait, what’s going on?’” She laughs at the memory. “They’re like, ‘Oh, you

speak really good English!' And I'm like, 'I'm from New Hampshire, babe!'"

Yai gets a lot of credit not only for her looks and her poise but her command of her own body. She doesn't get enough credit for her playful sense of humor—though she made me promise to underplay how funny she is for the purpose of this profile. (“Some things we keep for ourselves,” she says.) She loves punny wordplay, and if you teasingly sing her a few bars from a Disney ballad, she’ll gamely join in for the next verse. Even many style insiders don’t know how smart she is: This is, after all, a woman who was once studying biochemistry.

The same tunnel vision and ambition that once led her to medicine pushed her toward a new goal. And as Yai's presence in fashion rose, she swiftly gained a fervent fandom. Some had found her through that breakout viral photo; others became fascinated with her walk, which has the kind of hypnotizing sway normally found only in the supermodels of yore, including Campbell and Yasmeen Ghauri. Yai approached her career strategically, she says. She spent one season walking as many shows as humanly possible and the next doing a selective few. She became a model's model, the same way Evangelista had done

EVERY HEART BEATS TRUE Born in Egypt to South Sudanese parents and raised in New England, Anok Yai is an American original. Previous page: clothing by Dior; earrings by Tiffany & Co. Fashion Editor: Nicole Chapoteau.

some 30 years earlier. While her generational counterparts bent to the whims of internet stardom or TikTok, Yai brought the industry to her feet by becoming the best at what she had set out to do.

Yai recalls having to explain to her parents what her modeling career could look like. “I was like, ‘Mom, I booked Prada.’ She’s like, ‘What is Prada?’” Yai says. They were not wealthy when she was young; despite her interest in the culture around fashion, luxury was not in their everyday vernacular. “My dad was like, ‘You were supposed to be a doctor, what’s going to happen?" she says. "For a while they still didn't get it. And then one day my dad was driving, and then he saw my first Prada billboard and he was like, 'Oh my God, is that my daughter?" Now her parents are her biggest supporters, posing with her for her most recent British Vogue cover story.

Though Yai is at the top of her game, only a year ago it seemed like she might never

work again. In 2025, Yai learned that she had a congenital defect. Her heart was pumping too much blood into her lungs, and it was killing her left one. She underwent surgery, and after a complication, she went under the knife again. Her recovery was long and arduous. She had to learn to walk again, both as a human and as a model.

“I realized the fragility of my own mortality,” Yai says. She clawed her way back, returning to work, and to the public eye, in March on the runway at Chanel in Paris. Then came the Met Gala, then came her Vogue cover, also in May, and her Vanity Fair cover in July, with the couture shows following the very same month.

In April, Yai had a cameo in The Devil Wears Prada 2. I had heard some industry gossip that she was in talks, or at least in the run-

ning, for a role in the film. “No comment,” she says, laughing, when asked about it. When I probe and rephrase my question, she gives in. “I did a cameo,” she says. “I would have done it as a character.” She wanted to play one of Runway’s assistants. “But I can’t tell all the secrets about what happened.” She laughs again.

Yai will say that she's secretly been taking acting classes for the past few years. A pivot to the big or small screen would be an ambitious goal and a somersault of a transition few models before her have successfully accomplished. (Kaia Gerber is currently in the process; her mother, Cindy Crawford, never quite got there.) Yet Yai has surprised herself and those around her many times before. With her signature focus—and a little prayer on that rosary—who's to say she won't make it happen? VF

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WE NOMINATE FOR OBLIVION

WEARABLE TECH

No more beeping, booping, or buzzing. HILLARY BUSIS is opting out

Once upon a time, nerds didn't know they were dressing like nerds, which actually made their ensembles kind of cool. But there is no way to look cool in wearable tech. Even

AirPods. (Especially AirPods?)

Why, you ask? It's just all so ugly! Maybe this goes without saying, but let's say it anyway: From Fitbits and Apple Watches to Oura rings and the monstrosity that is the Oakley Meta Vanguard—wraparound specs that look like a castoff from a Jared Leto—starring Tron sequel—wearable devices are uniformly clunky and inelegant no matter how streamlined their design or modest their footprint. They're the 21st century's answer to a pocket protector and suspenders with none of the charm. Think of Mark Zuckerberg in a thick-framed pair of Meta glasses or Tim Cook wearing the Apple Vision Pro—the love child of the Patriot Act and a pair of ski goggles—on the cover of, yes, Vanity Fair. It's impossible to picture without wanting to stuff either one inside a locker.

True, the annals of fashion are littered with ill-advised accessories: leg warmers, trucker hats, Livestrong bracelets. But the very act of putting on a wearable—of willingly adorning oneself with a tiny computerized narc—is an act of surrender. By default, these devices mark the wearer not only as a geek, but as a try-hard and an egoist. Wearable tech is for people who can think of nothing more fascinating than the minutiae of their own body, people who can’t simply take a stroll around the neighborhood unless it “counts” for something—unless it gives them points in an invisible competition they’re playing against themselves.

Which, to be fair, is not entirely their fault. In many cases, the robot tail wags the living dog by tricking it—tricking us—into caring about obscure metrics, then gamifying the process of improving them. Two years ago I’d never even heard of a $VO_{2}$ max. But after a late-night deep dive

into my health app revealed that I have one; that unbeknownst to me, my watch had been keeping tabs on it for years; and—horror

of horrors—that mine was merely above average rather than high, optimizing this questionably important measure became a personal obsession.

I am a geek, and a try-hard, and an egoist. I’d love to throw my watch into the East River. But I can’t, because I’ve grown accustomed to knowing how many imaginary flights of stairs I climbed yesterday (so many!) and just how deeply I slept last night (not very!). The watch hasn’t transformed me into a monster, but it’s enhanced my preexisting monstrous conditions: a thirst for validation, a need to be constantly graded and evaluated.

Things could be worse. I could be addicted instead to the pervert glasses manufactured by Google and Meta or the ones to come from Apple and Snap. Anecdotally, I've read that wearable computers like these are a godsend for people with visual impairment. This is good for them. But nobody else could possibly have a compelling reason to put on Meta glasses. These devices are morally questionable as well as aesthetically heinous; at least when dirtbags attempt to use their smartphones to take creepshots of strangers, it's possible to catch the attempted voyeurs in the act.

Computer glasses erase that prospect. They're the embodiment of Daniel Lavery's immortal evisceration of Black Mirror: "What if phones, but too much?"

We already live in a hall of black mirrors. Screens have invaded our taxis, our billboards, our children's toys, our very refrigerators. There's a “smart” version of everything from washing machines and light bulbs to window coverings and umbrellas. My grill has an app. Tech has crept into every facet of everyday life, like an invisible fog of ones and zeros. All that, and you need a leather belt with a tiny computer inside that tells you when you've eaten too much? Isn't that what a regular belt is supposed to do?

No more! If this is smart living, I'd rather be dumb. VF

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FILM

CONFESSIONS OF A TEENAGE DRAMA QUEEN

Converse! Cake! Cigarettes! The legacy of Sofia Coppola's 18th-century period piece Marie Antoinette endures 20 years later. A new book by photographer Andrew Durham offers a behind-the-scenes glimpse into the making of the gilded film

ith his Contax 35-mm camera in hand and unprecedented access to the Palace of Versailles, Andrew Durham shot more than 1,800 photographs

on the set of his close friend and collaborator Sofia Coppola's Marie Antoinette. There's a particular photo of the titular teenage queen and her husband, King Louis XVI, resurrected with youthful dispositions by Kirsten Dunst and Jason Schwartzman, draped in French opulence—white powdered wigs, crown jewels, bosoms, and all—while sporting wired headphones and propping up an Apple laptop in the palatial halls of Versailles.

The image is a time warp, one that perfectly encapsulates how Coppola turned a period piece into a decadent coming-of-age story, complete with a \$40 million budget, piles of pastel Ladurée macarons, towering arrangements of fresh flowers, a pair of baby blue Converse, and a poignantly punk new-romantic-era soundtrack. It's just one of hundreds of beautiful photographs in Durham's new book, Making Marie Antoinette, published by the director's own imprint, Important Flowers, and accompanied by a sprawling, star-studded oral history of the film by Vogue editor Keaton Bell.

Though the French queen never actually said “Let them eat cake,” the volume evokes the same delicious directive. Dig in. —DANIELA TIJERINA

HOLLYWOOD ROYALTY

Clockwise from top left: Kirsten Dunst naps inside the Musée des Archives Nationales; an extra, Mathilde Favier, and Al Weaver on a cigarette break; Marie Antoinette's arrival at the Palace of Versailles; Odile Gilbert adjusting Dunst's wig in front of Sofia Coppola; sweets galore; Jason Schwartzman and Dunst at the Opéra National de Paris Palais Garnier; after hours at Le Baron nightclub; setting up a carriage shot; palace guards resting.

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DINING

FAMILY STYLE

The McNally name has given New York some of its all-time favorite restaurants. Can George McNally, 23, capture that magic with his new spot, Faux?

feel like—so not cool," George McNally says. We're at a Chase Bank in Tribeca. Not the part with cobblestone streets, \$20 million lofts, and boutiques that sell \$500 Japanese denim jeans. The part east of West

Broadway that bleeds into the grit of the Financial District, the skyscrapers so tall and the streets so narrow that sunlight doesn't reach much at all. We're standing under fluorescent lights in a room that smells of Lysol, near a teller behind plexiglass. No one would describe this as “cool.”

The 23-year-old is hyperfocused on cool right now, because blocks away, he's making a restaurant called Faux. Why Faux? “I don't know,” he says, hitting his vape. “During the build-out, there's a bunch of different elements in construction that are all like, faux this, faux that....”

He has a vision: an all-day restaurant serving food that's South of France-ish, like the kind you'd get on a perfect day in Saint-Tropez but not pretentious or too expensive. And it stays open late. "It's impossible to get food anywhere after 11, midnight," he laments of the city that supposedly doesn't sleep. Downstairs he's building a lounge where guests can linger. Right now the vision is still under construction. Which is why we are at the bank. To make something cool involves an uncool process of zoning permits, building codes, and cash withdrawals. "I have to be so boring about stuff right now," he says, stuffing a wad of bills into his wallet. Several black tattoos, including one of a cocktail glass, flex across his arms.

He may seem young to be opening a restaurant, yet most men his age are not a son of Keith McNally, the man who made Balthazar and Minetta Tavern, to name only two; they're not a nephew of Brian McNally, Keith's brother who did Indochine. The McNally family holds a deep lore in New York: Despite being English born and raised, they opened the very eateries that defined and inspired the city's downtown culture. Jay McInerney waxed poetic about The Odeon in Bright Lights, Big City. In the 1990s, Sex and the City dedicated an episode to Samantha and Carrie trying to get into a thinly veiled Balthazar. Can George own the Gen Z night?

While a “child of” in acting or modeling would send nepo baby accusations flying, the margins of the restaurant business are too tenuous for anyone to seem to care. As Anthony Bourdain wrote in Kitchen Confidential: “Never having had a Friday or Saturday night off, always working holidays, being busiest when the rest of the world is just getting out of work, makes for a sometimes peculiar worldview.”

That worldview is the only one McNally has ever had, first as a child among the red leather booths of his father's restaurants, then as a teenager working in a London pub. A stint in nearly every position in the back and front of house followed: busser, dishwasher, waiter, bartender. The elder McNally wasn't sold when he saw the potential Faux space. George signed the lease anyway. He had no reservations. —ELISE TAYLOR

PHOTOGRAPHER IAN KENNETH BIRD

DIPLOMATIC CORPS

As designers continue to play musical chairs—Jonathan Anderson from Loewe to Dior, Alessandro Michele arriving at Valentino from Gucci, and so on—their loyal ambassadors have followed. Most of them, anyway. See: Nicole Kidman joining designer Matthieu Blazy at Chanel after a stint with Demna at Balenciaga. Demna’s tried-and-true muse, Kim Kardashian? She has been loyal, house after house. It can be hard to keep up with each passing season, so let’s take a look at the current state of affairs

● CURRENT AMBASSADOR ● FORMER AMBASSADOR

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Occupation Actor

Designer of choice Coco Chanel

Standing reservation 21 Club

New York neighborhood Sutton Place

Going-out hot spot Chumley's

You're a muse to... F. Scott Fitzgerald

You disappear to... Paris

Your vice Smoking

Occupation Fashion publicist

Designer of choice Calvin Klein

Standing reservation Indochine

New York neighborhood Greenwich Village

Going-out hot spot Nell's

You're a muse to... Peter Lindbergh

You disappear to... Saint-Tropez

Your vice Smoking

Occupation: Model

Designer of choice Bill Blass

Standing reservation La Côte Basque

New York neighborhood Upper East Side

Going-out hot spot The Factory

You're a muse to... Andy Warhol or Truman Capote

You disappear to... Capri

Your vice Smoking

Occupation: Nepo baby

Designer of choice Celine

Standing reservation At your private club

New York neighborhood Tribeca

Going-out hot spot Chateau Marmont

You're a muse to... Anthony Vaccarello

You disappear to... Greek Islands by boat

SHE'S ALL THAT

What exactly is an It girl? In the age of the influencer, it doesn't hurt to ask. According to Elinor Glyn, whose 1927 novella It popularized the term, “It” is a “quality possessed by some few persons which draws all others with its magnetic life force.”

The following decades saw It girls minted by tastemakers: Andy Warhol had Edie, Capote had Babe, Diana Vreeland had Twiggy and

Gloria Vanderbilt, and Alexander McQueen had Isabella Blow. Fast-forward to 2026, and they evade the algorithm. When everyone has her 15 minutes of fame, per Warhol's prophecy, what sets a woman apart? Mystique. There's always going to be something unknowable about an It girl even when everyone knows her name. Here, the traits over a century of Its. —ELISE TAYLOR

EVERYTHING IT

IT WORKOUT Tracy Anderson (still/again)

IT DIET Microdosing GLP-1s

IT SHIRT Charvet

IT GURU Aman Shaman

IT MANICURE Bare

IT ISLANDS Hydra, Pantelleria, Minorca

IT MOUNTAINS Dolomites

IT PLASTIC SURGERY Ballerina boob job

IT WATER Loonen

IT JEANS Vintage Levi's (sourced by Denim by Orlee)

IT HOBBY Substack

IT BAG Matthieu Blazy's Chanel Maxi Flap Bag

IT INJECTION Salmon sperm

IT HOTEL Reschio

IT SUNGLASSES Jacques Marie Mage

IT SPLURGE Diane Keaton's estate auction

IT JEWELERS Jessica McCormack, Dyne, Prounis

IT LEAF Butter lettuce

IT HAMPTON Amagansett

IT AUTHORS Madeline Cash, John Steinbeck

IT SCANDAL Divorce before 30

IT FEAR Microplastics

IT DESIGN A Lalanne (see page 142)

FOUR SEASONS

THEN & NOW

THE FRONT ROW

THE OPINION LEADER

Newspaper and magazine writers, including Cathy Horyn and Tim Blanks

THE LENS Anonymous runway-side photographers

THE TASTEMAKER

A magazine creative director, say, Grace Coddington or André Leon Talley

THEN

THE RUNWAY DISRUPTER

A huge celebrity showing up for fun, like when Madonna walked a Jean Paul Gaultier show practically topless

THE GATEKEEPER Heritage brand owner Bernard Arnault

THE BIG SPENDER

The daughter of a royal or magnate, say, the Miller sisters, or Tatiana Santo Domingo and Camilla Fayed

THE IT GIRL

An heiress or aristocrat of nebulous provenance, like Lee Radziwill or São Schlumberger

THE CELEBRITY GUEST

The muse's plus-one, like when Johnny Depp sat front row at a John Galliano show starring his then girlfriend, Kate Moss

VANITY FAIR

Before the internet upended the fashion ecosystem with its influencers and blogs and—gasp!—social media, the runway world operated under a strict hierarchy. Print publications, old money, and major celebrities dominated the front rows. They still do, but now, two decades and change after the millennium, they have to share the real estate with some new characters and their smartphones. The rise of content has given way to a changeover in the front row: It girls like Chloë Sevigny sit next to Insta-famous influencers; magazine creative directors rub elbows with celebrity stylists. And those heiresses and aristocrats and the wives of oil magnates who used to run the haute couture ateliers? They're in the waiting room with the plus-ones of tech moguls who've infiltrated the hallowed halls of good taste: Looking at you, Lauren Sánchez Bezos. —JOSÉ CRIALES-UNZUETA

THE LENS A street-style star-maker, like Vogue's Phil Oh or New York Times photographer Simbarashe Cha

THE TASTEMAKER A celebrity stylist, like Law Roach or Danielle Goldberg

THE OPINION LEADER

Substackers and floating-head video content creators, like Laura Reilly and Lyas, and still fashion critics and writers, like Rachel Tashjian plus Horyn and Blanks

NOW

THE IT GIRL The Oscar-nominated, multihyphenate fashion-loving daredevil Teyana Taylor

THE GATEKEEPER Heritage brand owner Bernard Arnault

THE BIG SPENDER

The tech bro's plus-one, like Lauren Sánchez Bezos, or VICs—very important clients, like Snehal and Jyoti Babani

THE RUNWAY DISRUPTER

An unusual runway cameo, like Tom Brady for Demna's Gucci show in Times Square

THE CELEBRITY GUEST

The brand ambassador paid millions a year, like K-pop star Lisa at Louis Vuitton or Rihanna at Dior, both of whom draw decibels for dollars

Radical Chic

As President Donald J. Trump puts his stamp all over Washington, ROBIN GIVHAN takes a look at the look of MAGA and how his disciples have hijacked style in their ascent to power

ne of my favorite aspects of life in Washington, DC, has always been the ability to drive across town and spend a few hours in another

country. Recently I was sitting behind the wheel of my car on one of the many state-ly but narrow residential streets abutting Woodley Park, waiting for the valet to wave me forward into Lebanon—or at least the residence of its ambassador. I watched as other guests strode up the walkway to the home of Her Excellency Nada Hamadeh Moawad, who was cohosting a luncheon in honor of Beirut-born fashion designer Reem Acra.

Inching forward, I scanned the group of women making their way inside the residence. The scene looked familiar and discomforting. Dresses dominated. Heels were high. The makeup was matte. Hair was expertly sprayed into place. MAGA was in the air. It was as if its concentrated form of femininity had pushed official Washington backward in time, as if an entire era of fashion never happened, as if decades of progress in the way women are expected to present themselves had evaporated. As if it was 1982, or even 1952. It was no surprise to hear one guest swoon over a recent encounter with President Donald J. Trump.

The MAGA aesthetic has seeped into all the nooks and crannies of the culture as well as here in diplomatic Washington. You could just as easily find the look on the runway in Ronkonkoma, New York, where, in the fall of 2024, conservative women came to admire red-white-and-blue-bedazzled jewelry and skirts depicting the drafting of the Declaration of Independence at the America First Patriotic Designer Showcase. At the January couture shows in Paris, the look was epitomized by Lauren Sánchez Bezos and her devotion to an hourglass silhouette and toe-crunching heels. In the press pool on Capitol Hill this spring, it was spotted on a reporter for LindellTV—the streaming site launched by Mike “the MyPillow Guy” Lindell. The reporter’s on-the-job look for a contentious interview with Representative Nancy Pelosi (D-Calif.) included a miniskirt, ankle-wrap heels, a blouse unbuttoned to the base of her sternum, and barrel curls.

MAGA is a style rooted in extremes. It is hostile to nuance and diversity. It views body positivity as a sign of weakness—but regards the president’s puffy, aging body through an exceptionally kind lens. And it believes gender fluidity is something to be stamped out. “As of today, it will henceforth be the official policy of the United States government that there are only two genders: male and female,” Trump said in his second inaugural address.

MAGA is code for hyperfemininity and extreme masculinity. It is women in stiletto heels and brightly colored, figure-hugging dresses—or high-waisted milkmaid ones. It is men in dark suits and red ties with a flag pin permanently affixed to their lapel (or in the case of Secretary of Defense Pete Hegseth, the American flag lining your suit jackets). MAGA women have long, long curled hair and flapping eyelashes; MAGA men clop about in black Florsheim shoes given to them by a president moonlighting as the nation’s casting director and stylist.

Female MAGA faces are plumped and frozen into a lineless matte mask of misogynistic complicity. Male MAGA bodies are perma-flexed in a posture of overcompensation and possibly aided by testosterone injections.

The goal here is to keep people in their place, to keep them tethered to gender stereotypes, traditions, and a narrow version of history. It is an organizing principle, a way of placating those who might be uncomfortable with changing mores and shifting power structures or who are

UPON REFLECTION "MAGA keeps things simple in a complicated and confusing world. Girls wear pink. Boys wear blue. Everything else is noise," writes Robin Givhan.

confused—or simply annoyed—by what is now acceptable behavior and what is harassment. If you are a MAGA believer, the aesthetic offers reassuring cultural guardrails. If you are a nonbeliever, the aesthetic is akin to an electrified fence sorting, separating, and punishing those who won't fall in line.

MAGA exploits and exaggerates the dominant aesthetics of Washington in the years leading up to the current millennium. That Washington—with all its officiousness—was stuffy and predictable. Men sat at the top of the power pyramid, setting both policy and convention. It wasn’t until 1993 that women even started wearing pants on the Senate floor, and it wasn’t until 2017 that women in the House of Representatives were allowed to bare their arms. Women were made to feel that their bodies were somehow offensive, distracting, or inconvenient. Fashion rules provided order; they helped to maintain the status quo. Men, despite their dominance, didn’t fare much better. Their job was to appear sturdy, brawny, and bland.

On Capitol Hill—and in Georgetown, its indomitable satellite—attire was a formulaic blend of achingly conservative silhouettes (think St. John Knits) and objectifying norms. Women wore luncheon suits, pantyhose, and high heels; they maintained full-face makeup, fresh blowouts, and salon sets. Men’s style was rigorously prescribed too. They wore Brooks Brothers suits, and those suits were navy or charcoal or black. President Ronald Reagan dared wear brown suits, and he was declared fashion-forward. The suits weren’t cut to heighten a man’s physique but rather to comfortably camouflage it. A few men dabbled in bespoke, but it was hard to tell. They managed to make the most elite suiting look proletarian.

MAGA style has taken these familiar Washington constructs and added an element of performative pageant culture and tradwife religiosity—denoted by prominent displays of Christian crosses. It mixes in aspects of toxic masculinity. And it wraps the entire cartoonish concoction in the high gloss of designer labels.

The glamour girls of beauty pageants of yore conflated prettiness with patriotism. Femininity was measured by how well one could traverse a stage in heels and a one-piece, and the ultimate dream was a diamanté tiara. MAGA links to tradwives who use modern-day social media to spread their olden-days gospel of homemade cheese, prairie dresses, and birthing abundant children while their manly men are out doing manly things. It uses the language of fashion-magazine spreads in which even the most mundane objects and activities are presented with a sense of indulgence and aspiration. While these America First adherents preach populism, their closets are full of Dolce & Gabbana, Christian Louboutin, Dior, and plenty of other boldface European names.

All of this spins out from the White House in a series of concentric circles. First lady Melania Trump sits at the center: her MAGA highness. She is the MAGA woman all others emulate. (The president is the man they all aim to please.) She maintains perfect posture atop her perilous Louboutin heels. Her eye makeup is smoky. The clothes are body-conscious—with the occasional nod to a floppy tradwife sleeve. Her smile is astutely attuned to the location of photographers. Her resting face is one of aggrievement. Mrs. Trump is the template for an aesthetic that has grown to be comical and terrifying, flattening and enraging, old-fashioned and foreboding.

Hervé Pierre is the man who has helped shape her public image. He was also the only male guest I spotted at that luncheon—and I’m pretty sure he was the only one wearing sneakers. He’d paired them with a white suit to which he’d affixed a little daisy to his lapel.

If you happened to see Melania, the cinematic ode to the first lady over which she had editorial control, you would have seen Pierre, who was prominently featured. In his most memorable scene, he ventures into the design weeds with Mrs. Trump as they discuss how many millimeters of her white collar should peek from the neckline of the Adam Lippes-designed coat she plans to wear to her husband's second swearing-in. Audiences learn Mrs. Trump considers every detail of her clothes not because she aims to lift up a particular design house or draw attention to a particular initiative, but because she cares deeply about her appearance. A good-looking first lady is a great first lady. In the MAGA-verse, style is substance. It's competence. It's policy. See: Health and Human Services Secretary Robert F. Kennedy Jr. riding a stationary bicycle barefoot, shirtless, and wearing jeans, inside a sauna with Kid Rock.

It only makes sense that this administration would complain about news photos it doesn't believe are flattering enough of their subjects. Officials have expressed enough displeasure with certain photos that they've been deleted from a wire service. They've banished offending photographers from Pentagon briefings because their pictures of Hegseth depicted

MAGA STYLE IS A PERVERSION OF THE PAST, A FORM OF DRAG BORN OF LONGING, DISAFFECTION, UPHEAVAL, AND ANGER OVER WHAT DEMOCRACY HAS WROUGHT.

him as human and not a Marvel character. Optics are a measure of success. If it looks good, then it is good.

With its gendered stereotypes and racialized strictures, the image promoted by this administration and its loyalists is sending us spiraling back to a time when attractiveness, and by default worth, was measured in the narrowest, whitest terms. It’s an exaggerated version of nostalgia and respectability.

The aesthetic hearkens to a time before transgender rights were part of the political conversation and before same-sex marriage was legalized across the United States. The country had not elected a Black president or even envisioned a Black first lady. The CROWN Act had not been adopted at the state level nor introduced at the federal one. A historic wave of women had not yet been elected to Congress.

It's a perversion of the past, a form of drag born of longing, disaffection, upheaval, and anger over what democracy has wrought.

Pierre, who is French, has been in Mrs. Trump's orbit since 2016. He is funny and blunt and in case anyone was wondering, he knows that some people are appalled every time they lay eyes on the president and first lady. He has taken this predisposed outrage as a challenge to do his job well.

Pierre met Mrs. Trump when he collaborated with her on her first inaugural gown. Now at the National Museum of American History, the vanilla silk crepe dress, with its single waterfall ruffle and narrow claret ribbon at the waist, hinted at old-world craft and restraint. It had an air of lightness too. It was feminine and a bit sexy thanks to its slit skirt.

Unlike Sarah Phillips and Michael Faircloth, designers who created dresses for, respectively, Hillary Clinton and Laura Bush and had connections to the cities the first ladies called home, Pierre did not have a long-standing relationship with Mrs. Trump. Pierre is also not the sort of designer whose biography builds a narrative of youthful entrepreneurship into the work, as Jason Wu's did when he created a gown for Michelle Obama. For Pierre, a dress is simply a dress—expertly fitted, well-made, and appropriately formal or informal depending upon the occasion.

Pierre's work and his eye make plain that no garment, no singular cut or color or embellishment, is distinctly MAGA. It's the combination of a multitude of elements. It's the way in which MAGA fills a void with a story, the way fashion is used as a weapon to belittle and divide and prioritize. This is a first lady, after all, who once departed the White House en route to a detention center for migrant children wearing a jacket that read, "I REALLY DON'T CARE, DO U?" She is a representative of an administration that has been at war with inclusivity, immigration, and nonwhite history. When espoused by Mrs. Trump, Pierre's devotion to old-world craft reads as a rebuke to new-world diversity. Formality has become an expression of cold callousness. For every designer—Lippes, Stefano Gabbana, Domenico Dolce—who happily and intentionally drapes their clothes on Mrs. Trump's back, one wonders: Do you care?

Over the years, the movement has taken banal expressions of sex appeal or professionalism— CONTINUED ON PAGE 168

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Sherman's March

Hedda Hopper. Elsa Maxwell. Cindy Adams. We've always had a love-hate relationship with our most celebrated purveyors of gossip. Lauren Sherman, author of Line Sheet, is the latest inheritor of the mantle. AIDAN McLAUGHLIN hits the shows with the journalist about whom everyone in fashion has an opinion

H igh above the Hotel Bel-Air, inside a pale yellow pavilion, Lauren Sherman sits quietly and watches as models glide by in leather

riding boots and silk scarves. A parade of luxury executives, fashion journalists, and a few celebrities have been shuttled up the hills to be here just before golden hour. The man who owns the property, a prime three-acre tract with sweeping views of Los Angeles, whispers that Hermès spent millions of dollars to build this butter-hued extravaganza from scratch.

Sherman is sitting across from Kerry Washington and Miley Cyrus, who bounce in their seats and gossip giddily with one another. She keeps mostly to herself, occasionally filming a model with her iPhone or jotting down notes. “I would say my biggest weakness as a reporter is I do feel uncomfortable being in the way,” she will later tell me.

Sherman continues scanning the crowd. “Shows are a great place to see power dynamics shifting,” she says. She points out that a specific Hermès executive who would normally languish in the second row of a show like this is now ringside. “That’s how I know he’s moving up in the world.” She pays close attention when Nadège Vanhée, artistic director of Hermès womenswear, pauses her sprint down the runway to hug OpenAI executive Charles Porch.

The next morning, in Line Sheet, the sharp-edged fashion-industry newsletter she writes for Puck, Sherman dutifully sizes up the collection. But it’s her bloodless assessments of the shifting fortunes of fashion’s creative stars—and even their lowliest subordinates—that keep readers hooked. Sherman is known to savage, with unglamorous insensitivity, the vaunted creative directors of the great houses. Hermès is off the hook today. Vanhée’s embrace with Porch, Sherman writes, demonstrates her “sprawling, unexpected network of friends.” The headline of Sherman’s column declares, fortuitously for Vanhée, that the 10-year veteran of Hermès has “increasing allure.”

Sherman, 44, is not a critic in the style of New York Times writer Vanessa Friedman, nor is she trying to be. “No one cares what she has to say about the clothes,” says one fashion editor. What she offers is a blend of provocative industry analysis, who’s-up-and-who’s-down speculation, and bona fide scoops. This mix, delivered with an insider’s voice and tart-tongued certainty, has made Sherman one of the most influential—and polarizing—figures in fashion media. In just three years she has transformed Line Sheet into the second most profitable franchise at Puck, complete with a four-person reporting team, podcast, events business, and audience that stretches from luxury conglomerate executives to editors, designers, investors, publicists, and fashion obsessives.

Fashion magazines, with few exceptions, are known to offer flattering coverage of the industry—if they criticize, it’s by omission. At Line Sheet, Sherman is disrupting a hidebound industry with an old-school playbook: lavishing praise on some, drubbing others, and allowing vendettas to play out inside the confines of her newsletter, printing rumors that may or may not become fact. Her readership has never seen anything like it.

That audience has helped Sherman break major news. Last year she was first to report Chloe Malle's appointment to run American Vogue; more recently, she reported a week before the official announcement that New York magazine creative director Jody Quon “was in the process of working out her deal” to be the next editor in chief of T, the style magazine of The New York Times. Before that, she broke the long-awaited news of Chanel’s pick of Matthieu Blazy as its new artistic director.

Sherman is keenly aware of her own power—and bullishly confident in it. “Mark is smart to assign this story,” she tells me at the Hermès show in June, referring to my boss, Vanity Fair’s editor Mark Guiducci, and suggesting he believes a flattering profile will earn Vanity Fair gentler coverage in Line Sheet. She shrewdly praises editors who have nurtured relationships with her, like Sara Moonves, the editor in chief of W magazine. “She’s such an influential voice in our industry,” Moonves later writes in an email.

“Honestly, I think people are afraid of me,” Sherman says. She pauses to offer

"YOU KNOW WHAT?" SHERMAN SAYS. "I DO THINK I KNOW BETTER THAN EVERYONE ELSE."

a caveat: “I’m not a bully.” But she does inspire fear. “When I see my name in the opening blurb, I get a jolt of anxiety every time,” says one fashion executive who’s a recurring comprimario in Sherman’s emailed opera. Chris Black, the writer and podcaster, compares the power of Line Sheet to “the way that you’d want to see your name in bold in Page Six in the ’90s. For better or worse, if you’re in it, you’re part of the conversation.”

Sherman's audience is obsessive. One fashion editor recalls receiving “hundreds” of texts when Line Sheet broke the news of her new job. Subjects of her newsletter say she often reports news about their companies before they even know about it. “I don’t know how she knows these things sometimes,” says the executive. “She is the

AROUND AND AROUND SHE GOES Lauren Sherman, known for her direct hits on fashion's sacred cows, poses here with the horses of the Carrousel de Saint-Pierre in Paris.

only journalist that I will call to actively do due diligence on a company that we are looking at,” says a venture capitalist who works with fashion businesses. “I trust her nose. I trust her intel.”

“She’s built up Puck to be inevitable in fashion,” says a competing fashion journalist. “You can’t not read it.”

It's a fine time to cover fashion, if not to work in it, which has been central to Line Sheet's success. In the last few years, the \$2.5 trillion industry has been in a state of near-constant turnover. Chanel, Gucci, Valentino, Loewe, Celine, Tom Ford, Dries Van Noten, and Maison Margiela have cycled through creative-leadership changes. These luxury houses increasingly resemble sports franchises, with star designers traded, poached, and recruited across warring corporate empires. Sherman has whipped the turmoil into an arresting drama. Last year, amid a blizzard of hirings and sackings at the upper level of the major houses, a group of top designers maintained a WhatsApp group chat dedicated to complaining about Sherman's coverage of their fates.

“I don’t really care about clothes,” says Black. “I don’t care about fucking construction. These personalities and why they do what they do and how much they’re getting paid and where they’re going and why and who’s getting replaced—Lauren has made that a full reality show.”

Working outside the glossy magazines allows for certain liberties. There has long been a tacit complicity between the houses and the magazines that cover them, which means that most fashion reporters respect embargoes—the agreements between a company and an outlet stating a piece of news can’t be published until it is officially announced. Sherman, liberated by her own ambition but also her platform at Puck, which is seen as less beholden to luxury advertisers, pays no mind to such agreements. “I think that anyone who sends a thing that says ‘embargoed’ is stupid,” she says. “There’s no way I would ever honor that. It’s insane. Why do people do that?” (A source at Puck says the outlet “regularly agrees to and adheres to news embargoes.”)

It also means she can cover the word on the high street more liberally than the competition. “A more mainstream newspaper has to be very careful about rumors, but she has the freedom to write about things that aren't 100 percent confirmed but often become correct," says the curator and art dealer Jeffrey Deitch, a devoted Line Sheet reader. "It makes for much more interesting reading." Sherman often ends speculative columns about swirling gossip with casual entreaties: "Anyway, if you know more, call me about this, too!"

Her approach has made for a polarizing rise. Sherman has made enemies at the highest levels of fashion's major conglomerates and among the press she both covers and competes with. “The Puck approach in general is they hear a rumor and they write it,” says one fashion journalist. “Often they frame it as ‘We have special inside info.’ It drives everyone nuts because everyone has the inside info. Everyone’s heard that rumor, but it’s a rumor and other institutions have different rules around what you can print. They essentially play the odds. Write a rumor, and if it’s right, then we get to be the ones who broke it. If it’s wrong, then it doesn’t matter because everyone will have forgotten and there’s new news anyway. It’s a pretty good roulette game.”

“Our journalists are deeply sourced in the industries they cover,” says Puck cofounder Jon Kelly (who was once an editor at Vanity Fair), calling Sherman a “best-in-class, once-in-a-generation journalistic talent.” “As a result, we’ve cultivated a loyal audience of readers that turn to us for reporting they can’t find anywhere else.”

In the image-obsessed world of fashion, hostility manifests in peculiar ways. Some cattily point out that Sherman doesn't have the clearest sense of personal style. One friend of Sherman's says that's improved with the success of Line Sheet: "Lauren now clearly makes a lot of money and wears that money." At the Hermès show, she wore Versace shoes by Dario Vitale and a Phoebe Philo-era Chloé jacket bought on The RealReal for \$125. On her wrist she wears a Cartier Pan-thère watch. She could expect to face some knives given the way she wields her pen. Paris, where Sherman recently moved her family in order to be closer to the action, is a tough town—and Sherman isn't the most natural fit. She sometimes pronounces the first name of Blazy as "Match-yoo" instead of "Ma-tyeuh."

“There are people who hate her,” says Parisian PR chief Lucien Pagès. “She makes people nervous—those who compete for scoops and also those who have something to hide. She can make me nervous!" The angst Line Sheet inspires is part of the appeal for its readers. "If you don't have enemies, you're not doing the job right," says Black.

Sherman admits she can be subjective and play favorites. “That’s the thing that drives me nuts more than anything,” she says. “If you’d ask Cathy Horyn, I think she would probably say no, but she totally does. We all know who she loves, who she’s been on vacation with. This is a New York Times reporter who’s going on vacation with Karl Lagerfeld. I’m not going on vacation with these people.” (“Lauren is mistaken,” says Horyn, who now serves as fashion critic-at-large at The Cut. “I don’t believe Lagerfeld ever went on vacations.”)

The mercurial nature of Sherman's coverage can inspire insecurity in her subjects. "Her opinion is capable of evolving," says Stella Bugbee, the Styles editor of The New York Times who has known Sherman since

"ANYONE WHO SENDS A THING THAT SAYS 'EMBARGOED' IS STUPID," SHE SAYS. "THERE'S NO WAY I WOULD EVER HONOR THAT. IT'S INSANE. WHY DO PEOPLE DO THAT?" (A SOURCE AT PUCK SAYS THE OUTLET "REGULARLY AGREES TO AND ADHERES TO NEWS EMBARGOES.")

2013. “One day she’ll be like, ‘I love that person.’ And then she’ll call them out if she doesn’t like something they did. I think that’s probably why people fear her.” In person, Sherman is equally keen to deliver such verdicts, whether on the niche menswear newsletter Blackbird Spyplane—“That guy takes himself too seriously”—or the illustrations that accompany Puck writer bylines: “You can be on the record that I don’t like the stupid sketches.”

This is all in keeping with the well-honed style of Puck: sweeping declarations delivered with either real or feigned institutional omniscience. In one newsletter on the promotion of an editor at The Wall Street Journal, Sherman managed to cram both self-congratulation and a spritz of venom into one sentence: "Sarah Ball, editor of WSJ magazine, is a master of managing up, and this week she pulled off a maneuver that was long expected—at least by me." When I ask Sherman about Puck's reputation for being impressed with itself, she replies: "You know what? I do think I know better than everyone else. I mean, no, I don't really. But we talk the way everybody talks behind the scenes. We're trying to say the quiet thing out loud."

Sherman is sensitive to the notion that she’s made enemies. “It’s hard for me too,” she says. “I don’t like people to not like me. It’s not fun. And it often feels not right. There are certain people, I get why they don’t like me, but not everyone.” But she’s defiant in the face of the frosty treatment she gets from some of the houses she covers. “I’m sort of the sacrificial lamb for everyone who’s going to come next. I’m making it much harder for myself so that other people can cover this industry pretty honestly. And the thing is, this is not the first time I’ve not been invited to fashion shows.”

Born in Trenton, Michigan, to parents who met working at a denim store, Sherman was raised in Pittsburgh, a world away from fashion's capitals. Her parents didn't have much money but cared deeply about style, and she longed for New York from when she was old enough to read Sassy magazine. By her teenage years she had settled on a plan: "Move to New York and cover Fashion Week in Paris and live in a shoebox and have a Chanel bag." Other experiences fueled her ambition. "I was friends with these mean girls in high school," she recalls, "and one of them was like, 'Lauren is so lucky. Everything she wants ends up happening.' Which is true. And another girl was like, 'She's not lucky. She's fat and she's poor.' And I'll never forget it. It's kind of like fuel."

After college and a brief stint in London, she moved to New York and took a series of jobs at Forbes, Fashionista, Lucky; and eventually Business of Fashion, where she served as chief correspondent and built a bursting rolodex. By that point, Sherman and her family had moved to Los Angeles, where she soon grew restless. She had become “completely obsessed” with Matthew Belloni’s enormously influential Hollywood newsletter at Puck and considered covering the entertainment business herself. Whatever she did, she wanted to work at Puck. "From the beginning you could tell she was going to make a mark, and she didn't really care whether or not that would be in legacy media," says Bugbee.

Sherman was on leave writing Selling Sexy, her 2024 book about Victoria's Secret cowritten with The Cut writer Chantal Fernandez, when she reached out to a friend who worked at Puck to pitch herself. "I don't care, I'll write about Walmart," she recalls saying. "If you guys are going to do fashion or retail or anything, I need to be in the conversation." It turned out Kelly was looking around for a fashion writer. "It was immediately clear, within 15 minutes, that Lauren had all the things you could possibly look for and more," he says. "Forty-five minutes in, I stopped her. I said, 'You're hired. We're going to do this.' I had never done that before, and I've never done it since."

When Puck announced Sherman as its new fashion writer, the outlet crowned her “the preeminent fashion journalist of her generation,” an honorific that raised eyebrows in a competitive industry. “We were all like, that is insane,” recalls one fashion journalist. But Puck’s inflated branding has, over time, come to look almost prophetic. “The joke is on us because it’s kind of become true in a certain way.”

As Line Sheet's audience grew, Sherman launched a private-dinner series spanning cities from Los Angeles to Milan and landed a contributor deal at CBS News. Sherman joined the network in January, alongside a raft of new contributors recruited by its new editor in chief, Bari Weiss. She sighs when I ask about the network. “I would say that I’m—I’m watching the way it develops and we’ll see, but for now I’ve had a good experience,” she says. And then, “It seemed like a great idea when I did it—and so far it’s been a good experience.”

Earlier this year Sherman and her husband, the fellow journalist and media founder Dan Frommer, moved from Los Angeles to the east side of Paris and enrolled their five-year-old son in a bilingual Montessori school. “The business is concentrated in Europe now,” she says. “There aren’t many companies in the US that I cover other than Nike and Skims. So why not be here?”

In 2024, the Financial Times reported that LVMH chairman Bernard Arnault had sent a furious memo to staff ordering an “absolute ban” on speaking with journalists at several publications. There was only one US outlet on the list: Puck. “I formally condemn any behaviour consistent with maintaining relationships with unscrupulous journalists and giving them information or comments on the life of the group,” Arnault wrote. “Any breach (and this will inevitably be known) will be considered a serious infraction, with the corresponding consequences attached to it.”

Sherman says the order from the head of the world's biggest luxury group didn't hurt her business: “The relationships I have are the relationships I have.”

She may not receive the warmest welcome at Louis Vuitton shows, but Line Sheet still ferrets out scoops from inside Arnault's heavily guarded fortress. "Clearly people are telling her information," says Max Stein, a manager and longtime friend of Sherman's. "And those are the exact same people that are complaining that she has the information." Even Sherman's critics agree she still has the ear of many, including the money people. "A lot of the people who don't like stories that she's written still speak to her very regularly," says the venture capitalist. "Lauren is focused on uncovering elements of businesses that a lot of people don't want written about."

Sherman has been a thorn in the side of Condé Nast, the parent company of Vanity Fair and Vogue, which she covers with the same dramatic zeal as the memoirists who dissected the court of Versailles. She’s similarly prone to inserting a sharpened epithet when a milder one may have sufficed. Malle, in the story announcing her appointment to the top of American Vogue, was deemed “a longtime supplicant” of Anna Wintour. A Vogue staffer who decamped to The Wall Street Journal is described as a “longtime Anna Wintour lackey,” only for Sherman to clarify in the next line: “I say ‘lackey’ with affection.” Lackey, in Shermanese, apparently means “an integral part of the Vogue machine.” Guiducci has also been labeled a lackey in Line Sheet. [Editor’s note: CONTINUED ON PAGE 169]

How I Blew Up— Then Rebuilt—My Life

When news of her affair with Gavin Newsom exploded into the public eye, it was only the outward mark of a long-ripping private implosion. In the wreckage, RUBY RIPPEY faced her demons but lost the person she loved most and her own voice. Twenty years later, she is ready to share her story

I

have a friend in recovery who says her family was blindsided when she got sober. No one had any idea; she'd hidden it well. That wasn't my story. When I entered rehab, no one was shocked, only

relieved. My drinking had stopped being private some time ago.

Nobody had been surprised when rumors about my affair surfaced long before treatment. Nearly everyone seemed to know except the one person who most needed to know: my husband. I had been sleeping with his boss, who was also mine, and the mayor of San Francisco. I had believed that getting sober would put my life back together. Instead, it left me alone with the truth.

In rehab, when the question of telling my husband comes up, my therapist leans forward—jet black hair, dark eyeliner—and delivers the recommendation of the care team. “We think it’s best for your sobriety not to tell him. Because this involves a public figure, the fallout could be devastating, and it could threaten your recovery.”

Her verdict doesn't sit right with me. Even then, I know telling Alex is necessary.

Once home from rehab, I abandon structured recovery and try to do sobriety on my own. For months I stay dry while each day my husband goes to work for the man who had been sleeping with his wife. The silence begins to feel almost criminal.

MIXTAPE-1999

I first meet Alex at San Francisco City Hall during Mayor Willie L. Brown Jr.'s administration. I am the mayor's lead scheduler; Alex directs the Office of Neighborhood Services.

For months, he finds reasons to stop by my office. A coworker tells me he's asked about me. I say I'm not interested. Still, he keeps coming by. One afternoon he brings matzo ball soup from Max's deli, my favorite. Another time, a mixtape.

One afternoon I am eating a salad at my desk when he walks in and sits down across from me. I look up and meet his eyes—large, brown, steady—and something shifts. I see him differently. Or perhaps I allow myself to see what was there all along. He carries himself with an effortless assurance. There is gravity to him.

On New Year's Eve, as time clicks to 2000, we kiss for the first time on a friend's back porch. We are pressed against the wall as midnight erupts across the city. Fireworks, car horns, the collective exhale of a century ending. It feels like a beginning. After that night, I play the mixtape on repeat.

THE SUPERVISOR-2003

As Brown terms out, my new husband and I are recruited to join the next mayoral campaign. A young supervisor from District Two enters the race, often described as Kennedy-esque. Alex is field director; I am deputy finance director.

We move through those months side by side, through my pregnancy, through long stretches when victory feels uncertain. When our candidate wins with 53 percent of the vote, we walk into City Hall together. We are convinced we are building something new.

BENEATH THE DOME-2004

A year into the administration, the city still carrying the energy of a political dawn—a mayor whose charisma seems to gather momentum.

Just a month after taking office, he legalizes same-sex marriage. When it happens, I am seven months pregnant. I stand beneath the dome of City Hall in a maternity wrap dress and leopard kitten heels, deputized to marry couples.

The administration is settling into itself. I serve as commission secretary, coordinating appointments to nearly a hundred city boards and commissions. Down the hall is my husband's office—the deputy chief of staff. Some mornings I bring him two hard-boiled eggs in a Tupperware container. He looks up from his desk and smiles at me.

One day I am told my office has been reassigned. The mayor wants me at the desk outside his door, a gatekeeper. I understand the logic. It’s a new administration full of young staffers improvising their way through it. Still, losing my office feels like a demotion.

But my new desk quickly becomes a nerve center. I manage the steady stream of people who want something from him, and I pass notes on thick yellow index cards, a holdover from Brown.

One night, we all meet at a Mexican restaurant on Lombard Street. Warm tortilla chips. Limes. Margaritas sweating in glasses. As the waiter takes orders, I feel the mayor looking at me. I glance up—across the table—back at him. As if caught off guard, he reacts, pointing at me.

“Hey—you look really good,” he says. “You’ve lost all your pregnancy weight.” There’s an awkward laugh. I reach for another chip and stare at my husband’s margarita, the salt rim catching the light.

I want it.

But I'm in another self-enforced stretch of sobriety, so I sit on my hands and wait it out.

After that, I start paying closer attention to what I wear. Chanel makeup. A yellow silk dress fitted at the waist. Pink patent leather heels. At senior staff meetings, we sit in a semicircle facing his enormous oak desk, 12-foot velvet curtains drawn tight, casting the room in a private glow. I wear my new heels. A tight pencil skirt. I cross my legs; I feel important.

It's hard to reconcile that woman with the person I would become in one short year. My self-willed stints of sobriety grow fewer and farther between. Until they stop altogether.

THE WHITE DRESS— JULY 2, 2005

If there's a place it starts, it's at an afternoon wedding over Fourth of July weekend. A longtime City Hall staffer is getting married.

Everyone is going. I wear a white strapless dress; my mother says it isn't appropriate for a wedding. She urges me to wear a tan wide-brimmed hat to add color, but I leave it in the car.

SHATTERED PIECES "It isn't love. It isn't romance. It's intoxication," Ruby Rippey writes of the affair.

The reception is at a Napa Valley estate, surrounded by vineyards. Long tables sit in the afternoon sun. Alex and I stand with a group of staffers—talking, laughing, Champagne in hand. I am restless in a way I can't name. I drink Champagne, then wine. Then more wine. My dinner goes untouched.

My boss and I end up in the narrow hallway outside the bathroom at the same time. We wait, across from each other. The space is tight. The silence stretches. He slips his hands into his tan trouser pockets and smiles—his usual shy, aw-shucks smile. I say nothing. I hold his gaze longer than I should.

The air changes.

By the time night falls, I am sitting on the edge of a hot tub with my feet in the water. He is across from me, slipping off his shoes and socks, rolling up his pant legs. My husband leaves soon after, irritated that I want to keep partying while he drives home to our one-year-old son.

The next clear memory is getting into the back of my boss's chauffeured town car, heading to The Carneros Inn. There are others—his sister, a few more. The car smells like new leather. I stretch my legs across the center console and let my heels fall off. He is in the front seat. He takes one of my feet and begins to massage it, the gesture half-hidden inside the loud car.

Then nothing.

I wake the next morning beside him, still dressed. I am cold, almost shivering, and my dress—the one my mother warned me not to wear—is soaked from the waist down. I had passed out. I had also wet the bed. (It wasn't the first time.)

He is still asleep. I find my clutch, gather my heels, and leave quickly, wanting to get back to Alex.

A few days later, back at work, my boss slips my gold bracelet onto my desk as he passes. A gift from my grandmother, left behind in the Napa hotel room. He keeps walking. We pretend nothing has changed.

But everything has.

The boundaries begin to disintegrate. I linger in doorways, position myself within his sight line. At events, he holds the doors, waiting for me to pass first. The texts shift from work to something else. I manufacture reasons to be near him. The choreography becomes obvious. People notice.

As the performance unfolds in plain sight, I start measuring my days by how close it is to five—when I can start drinking. I scan his calendar for openings, places I might “happen” to see him later that night. I arrive, make sure I’m seen, then leave.

My phone lights up soon after. “Where are you?” But it never matters where I am because I always go to him—his penthouse in Russian Hill, a private back room in a North Beach bar, the W Hotel in Los Angeles.

We meet and we drink. There is sex, but it isn't the point. The point is proximity—to power, to being chosen, to feeling newly visible—no longer muted by pregnancy, by new motherhood, by the strain of white-knuckling long stretches of sobriety.

It isn't love. It isn't romance. It's intoxication. The text message is a hit. The glance across the hallway, a hit. The risk floods my bloodstream. I walk down the corridors of City Hall—my nude stilettos striking the marble floor. He looks at me, his gaze deliberate, newly curious. It feels like oxygen.

I don't stop to consider the consequences—not for Alex, not for myself, not for the life I am building. I am responding to the feeling. His attention lands like a high, and I follow it with a single-minded devotion.

THE STAIN

When I ride with him to his penthouse in Russian Hill, the driver is told to wait. I protest. But in the early hours of the morning, when I make my way back onto the sidewalk, the black Lincoln is still there, idling at the curb. I slide into the back seat, thanking the driver too profusely, humiliated by the certainty that he knows.

One night at his place, I am in his king-size bed, lying on my side, watching

BY MORNING, MY FACE IS ABOVE THE FOLD IN EVERY LOCAL NEWSPAPER. TELEVISION STATIONS RUN THE STORY ON A LOOP. THE MAYOR HOLDS A PRESS CONFERENCE LIVE ON TV. "EVERYTHING YOU'VE HEARD AND READ IS TRUE," HE SAYS.

him. He is on all fours near the edge of the bed, scrubbing furiously at the carpet with a washcloth. I’ve knocked over a glass of red wine. It blooms across the pale rug. I remember thinking: That stain isn’t coming out. As if he can hear me, he looks up, frustrated. “You know, we really can’t do this anymore. You can’t be doing this to Alex.”

Later, alone in the back seat of his chauffeured car, I feel a sense of relief. It reminds me of my second DUI, over a decade ago—before Alex, before City Hall. Red and blue lights flashing in my rearview mirror as I came off the Golden Gate Bridge. I remember thinking, Maybe now it's over.

But the encounters continue, on and off, for months. I come home at three in the morning, wasted, breath thick with alcohol, and slide into bed beside my sleeping husband, pressing my cold body against his for warmth. The familiar fear floods in.

Some mornings I lie in bed, hungover and hurting, and plead with Alex: Please don't let me drink tonight. It's an impossible request. He can't control it any more than I can. "Can't you just stick to two glasses of Chardonnay?" he asks.

I love him for his stubborn refusal to see the full ruin of me, his belief that moderation is a skill I might someday learn. I love the version of myself reflected in his eyes.

TINY BUTTONS

I plan a girls trip to Los Angeles, knowing he will be there for work. By two in the afternoon my friend and I are drinking chilled Chardonnay at the Maison 140 pool in Beverly Hills. My phone buzzes. He's at the W Hotel. "You guys should come by." We polish off our wine and head over.

At the hotel bar, I remember only flashes—leaning in too close, laughter pitched too high. Then it goes black.

I wake beside him the next morning. The room is quiet. My head pounds. On the floor near the bed are tiny shirt buttons scattered like coins. Not mine. One is stuck to the back of my thigh. I peel it off and dress carefully, leaving without waking him.

Back at my hotel, I tell my friend I need to cut the trip short. I invent something about my son and book the first flight home. On the plane, with an empty seat beside me, I cry for the first time—a steady, stunned grief. I am overcome with the understanding that the consequences will not end with me. They may cost me the best thing that has ever happened to me: Alex. But worse, they will fall hardest on him—the person who least deserves them.

When I land, my phone lights up: "Thank God the W had T-shirts." Only then do I understand—hazily—that I tore his shirt off, every button ripped loose.

By now, the version of myself manning the nerve center is collapsing. I am now working in a makeshift office that used to be a copy room. I am coming in late, hungover most days. Leaving early, thinking only about drinking.

THE PILL

As my drinking and my life begin to spiral, I turn to Antabuse, a pill that promises to make me ill if I drink. Each morning I swallow it, certain this will be the day I hold the line. By late afternoon, my resolve thins, and I begin bargaining with a future version of myself.

One night I make it until 7:30. At a private party, trays of Chardonnay circle the room. I watch them pass as if they are carrying relief. I take one. Then another. Within minutes, my face turns red and swells. My eyelids become slits. People stare. “Ruby, your face—what happened?” I wave a hand. It’s just the lights. They’re so bright.

The pill makes me ill. But it doesn't make me stop—it just makes me stop taking it.

So I turn to cocaine.

Alone, cocaine doesn't appeal much to me. But after one or two bottles of wine, it makes it so I can drink twice as much for twice as long.

The nights blur: rooftop bars, wine, cigarettes, and names I immediately forget. Strangers' living rooms. Finishing the last lines long after I stop wanting them. The taxi ride home as the sun comes up. The city

A LONG SILENCE Rippey writes that Kamala Harris advised her to pause before speaking out: "More time will give you better perspective."

already moving—belonging to people who have slept. My body, a crime scene.

People ask how Alex didn't know—why he didn't ask questions when I was stumbling home at three in the morning. My sister, who witnessed my deterioration up close, says that Alex and I were both having an affair with the mayor. He was so devoted to his job—and boss—that he chose not to see what was happening in front of him.

By now, my single-minded devotion has shifted: The drink and drug have taken its place. I move from bar to bar, staying out until dawn with people who don't ask questions. When his texts light up my phone—urgent, insistent—I feel nothing.

My sister begins trailing me at night, trying to keep me in sight. One morning, just after five, she drives me to the emergency room. My nose won't stop bleeding—again. I press an old T-shirt against my face and watch it darken. My jeans hang loose. Her hands tighten on the steering wheel.

The doctor cauterizes the inside of my nostril. The smell of something burning—metallic, bitter—fills the small exam room. On the drive home, as the sky begins to lighten, my sister tells me she’s spoken with our father. I stare out the window. She says, “He’ll pay

for rehab—if you’ll go.”

The sentence lands harder than anything I did all night. Until then, I had believed this was a private failing, a defect in discipline. I had been trying to hold together a job, a marriage, a baby, and an affair while drinking and using cocaine. For the first time, stopping felt possible. I look at her and say: Okay.

WICKENBURG—MAY 19, 2006

The next morning, I fly to Arizona and check into a treatment center. I stay for seven weeks.

While there, I write two letters to my boss: one official, one CONTINUED ON PAGE 166

The Queen of Jordan

Jordan Roth began public life as a real estate scion turned Tony-winning Broadway impresario. More recently, he has embarked on a number of new pursuits in quick succession: haute couture customer, Instagram exhibitionist, performance artist, and now, with Ryan Murphy's blessing, bona fide Hollywood actor. MARISA MELTZER asks: How did this producer become the production?

T here is a swarm of people gathered in Jordan Roth's studio for a couture fitting. It's hard to say exactly how many because new ones keep

streaming in and out, carrying boxes of shoes, having tiny huddles to discuss whether his hair should be in a low bun, handing out iced coffees by the dozen. The tenor of the room is so gravely serious, so singularly focused on Roth, that it's hard to discern each person's role. Patti Wilson, who styles Cher, is here with an assistant who is taking notes; there is Roth's own personal assistant, whose last job was at Beyoncé's company, Parkwood; and there's Roth's social media manager, who has been filming the whole thing. The designer Robert Wun is not here in body, but his face is floating on a laptop via Zoom from Hong Kong, where it is about 3:30 in the morning.

“Right now [the weight] is entirely on the hip bone, which is not amazing,” Roth says to Wun in the same tone you might use to convey displeasure at a paint color you knew wouldn’t work but went ahead with anyway. They are discussing the gown Wun has created for the 2026 Costume Institute benefit at The Metropolitan Museum of Art. This will be Roth’s eighth appearance at the Met Gala, and the dress code, Fashion Is Art, is particularly on-brand for someone who lives his life as a performance. Wun’s creation is a sand-colored velvet dress, which he suggests and Roth agrees is not the right color and will eventually be swapped for a thundercloud gray version. It covers Roth’s entire body—his neck, his arms, his fingers—with enough fabric that it puddles on the ground. It is so voluminous that on the first Monday in May, the Mark Hotel will have to remove the bed from Roth’s room to accommodate the dress, the sculpture, and the team. Today the drape is not the problem. What Roth is troubleshooting is a 35-pound humanoid sculpture emerging out the back of the dress and wrapping its arms around Roth's upper body—a faceless specter looming over him that one armchair critic likens to something from Spirit Halloween. Roth's inspiration was the Jean-Léon Gérôme painting Pygmalion and Galatea.

At one point something about the way the sculpture is perched atop Roth's lanky frame is deemed extraterrestrial. “We are already veering towards alien. We need to stay away from alien. We are not in Star Trek,” says Roth, who then cradles some of the excess fabric of the gown and says “Here’s my velvet baby” before the social media manager asks him to repeat it to the camera. “Here’s my velvet baby,” he trills again, eyes to the camera this time. The gown needs a name, Roth declares.

“Sisyphus,” I call out. He likes it. The camera turns to me. “But are you Sisyphus or are you the rock?” I ask. Roth responds, “Well, that’s the story of my life.”

Sisyphus will eventually earn no fewer than 10 Instagram posts, ranging from red-carpet imagery to an earnestly composed studio session, to a collection of third-party meme reactions, to several docu-style videos, each with the camp production values of a Bravo reality series. (“Is there something on my back?” Roth asks in one, referencing the ghostly figure careening overhead. “God bless the person sitting next to me.” “Are we the first three-way at The Met?” he asks his husband, Richie Jackson, in another.) Like all of Roth’s content, there is a mix of dead seriousness, dry sarcasm, and wondrous joy in equal measure. He often laughs. He sometimes cries. And he always dresses and undresses like a 50-year-old Barbie in front of a rapt, bewildered audience of a million followers.

This past spring Roth celebrated hitting that 1 million Instagram followers with two meter-tall gold mylar balloons and a caption that read, “I’m wildly grateful that we’ve found each other, that we are walking this path of discovery together.” Alongside is another video in which Roth, wearing a floor-length gold coat, pays tribute to himself, telling his audience that “your being here helps me express me,” followed by a slow-motion highlight reel of his appearances in a coterie of gowns.

Jackson likes to quote Warren Beatty in Madonna's documentary Truth or Dare when describing his husband: "She doesn't want to live off camera, much less talk. There's nothing to say off camera." "Richie calls it the Lucy and Richie show," Roth says. "He's not wrong."

The day after his Met Gala content wraps up, Roth will post a video welcoming his followers to Venice, where he will stage a one-man performance in a palazzo on the Grand Canal during the opening of the Biennale. (His debut as a performance artist last year took place at no less a venue than the Louvre.) The following month, the Broadway executive will attend the Tonys and the Tribeca Film Festival, post behind-the-scenes content from his Purple magazine cover photographed by Steven Klein, and announce the August 5 premiere of his acting debut in Ryan Murphy's adaptation of Bret Easton Ellis's The Shards, marking a new milestone in his multihyphenate odyssey. One could say that he is, finally, famous.

Characters like Roth have always invented themselves in New York. Standing six feet one in flats (not that he ever wears them), Roth, the son of a billionaire, went from bookish Princeton grad to Tony-winning theater producer but wanted more. The past decade has seen Roth leverage his audacity (and fortune) to develop an internet persona that can be described as the Marchesa Casati meets RuPaul. He has become so visible among Manhattanites that he has even become a target for homage, or perhaps lampooning: The creators of the Gossip Girl reboot wrote in a character named Gideon Wolfe with long hair and a penchant for outrageous designer clothing, men's and women's. (When I asked his representative what Roth thought of this depiction, she replied, "He is aware," and did not elaborate.) And now Roth is transforming once again, into a performance artist and an actor.

IS HE AN EMERGING ARTIST TAKING ON NEW MEDIUMS, OR IS HE A DECADENT INEVITABILITY OF OUR LATE-STAGE ATTENTION ECONOMY? IS HE BOTH?

Roth considers himself “pretty open” but in hours of interviews evaded many questions about his money, his family, even the neighborhood he lives in. Nonetheless, a portrait emerged of a peacock producer who has undergone a complete metamorphosis. And while plenty of colleagues and acquaintances were all too eager to speak about those topics anonymously, almost nobody wanted their names attached. Perhaps it’s a reflection of the goodwill, or sheepishness, that Roth engenders. At least one person put it bluntly to me, saying, “It’s crazy how in America, you can decide you’re someone, and with enough money, you can make it true.”

SEE THROUGH Roth's retort to all the gossip is that "accusations of unseriousness are how girly boys have been put in their place since the beginning of time." Sweater by Dolce & Gabbana. Fashion Editor: Daniel Edley.

So is Roth a theater producer or a fashion influencer or a performance artist or a television actor? The answer is yes. And he is relentless. Is he an emerging artist taking on new mediums, or is he a decadent inevitability of our late-stage attention economy? Is he both? Whatever the case, he is a cultural conquistador who's only just begun.

R oth grew up in northern New Jersey and later Manhattan, the son of Steven and Daryl Roth and brother to Amanda. The family owned a private plane and employed a driver who chauffeured him to Horace Mann. At Princeton he studied philosophy—his thesis was on the subject of desire—and theater. He told a journalist that after graduating from college in 1997, he had what he called a “crisis of wealth” brought on by living in a West Village two-bedroom his mother chose and helped decorate. In the same interview, he recalled an elementary school classmate who told him they thought he would have given a bigger birthday present.

The primary source of this abundance was real estate. Steven Roth is among the largest landlords in the city through his company Vornado Realty Trust, which owns approximately 20 million square feet of New York City commercial space (for which the going rate is around \$100 per square foot in Midtown). In May, Roth père said on an earnings call that the phrase “tax the rich” can be “just as hateful as some disgusting racial slurs,” adding that his fellow billionaires should be “praised and thanked.” He is, perhaps unsurprisingly, a longtime confidant and supporter of President Donald Trump. (“My dad’s friends and politics are his and mine are mine,” Roth tells me when pressed for comment.) Roth’s maternal pedigree is a little more culturally ripe: Mother Daryl is a Pulitzer Prize-winning theater producer whose work includes both August: Osage County and Proof. (At the 2026 Tony awards, Jordan held Daryl’s hand as she waited to learn whether she would secure her 14th win for Liberation. She did.) “Rumor is he is worth nine figures, which is life-changing money but not world-changing money,” speculates one close New York City observer, though definitions of world may vary. (Roth, through his representative, would not confirm his net worth.)

Roth has always had real intelligence and, crucially, ambition. Shortly after college, he auditioned for an adaptation of A Midsummer Night's Dream that was later called The Donkey Show. The role required a costume of tiny shorts and a great deal of body glitter, which was, he says, “not a place in my journey with my body I wanted to be in.” Instead, at 23, he helped them find a theater and put it on—in

other words, he produced it. The Donkey Show played for six years Off Broadway. He had briefly considered becoming an academic but instead followed in his mother's footsteps and ensconced himself in the theater. As one Broadway person puts it, he was automatically an insider with his money and mother's connections but simultaneously an outsider for effectively buying his way in. However he got there, he was talented and immediately successful. His first Broadway production was the 2000 revival of The Rocky Horror Show that made him the youngest lead producer ever nominated for a Tony at just 25.

In 2005, Roth joined Jujamcyn, a company that owns five Broadway theaters, as a resident producer. The next year he became vice president, and in 2009, a year before he earned an MBA from Columbia, Roth became president and co-owner of the company, taking a 50 percent stake for an undisclosed amount. When he upped his stake in 2013, Variety estimated the transaction to be in the tens of millions of dollars.

“Broadway has never understood what to make of him,” says one longtime observer. The Shuberts and Nederlanders, the

MADAME BUTTERFLY Roth's metamorphosis from buzz cut and neutral suits to fantastical couture has been a decade in the making. Now "I am allowing myself to paint with all the brushes," he says.

two other dynasties who own the majority of Broadway theaters, did not have similar offspring trying to merge hands-on creativity with management. But Roth had a vision for how his unique combination of attributes could not just benefit his own productions but the theater world at large.

"As an artistic producer, Jordan Roth brings a most unique combination of taste, brilliance, ambition, and genuine love," says

Lear deBessonet, artistic director of Lincoln Center Theater. “He knows how to care for artists and to see a path for the grandest realization of their dreams.”

"When Jordan was running Jujamcyn, he always brought his trademark creativity and appetite for visionary work to bear on the shows he presented," says theater director and longtime friend Michael Mayer. "While it always seemed to me that he was more personally invested artistically than the prototypical theater owner, who is primarily focused on the real estate and financial perspective of the productions, he really could handle both aspects with astonishing skill. He learned at the knees of his parents, who were standard-bearers of each discipline.”

Under Roth's leadership, Jujamcyn amassed hits like Hadestown, Kinky Boots, Moulin Rouge! The Musical, and an overwhelmingly acclaimed revival of Angels in America, cementing his place in the firmament of contemporary theater. He has won seven Tonys and four Drama Desk awards. The New York Times has written at least four glowing profiles of Roth, calling him variously “a New Force on Broadway,” “a Broadway Big Shot,” “a Broadway Bigwig,” and a “Broadway Mogul,” and declared that he “redefines clout” in yet another. New York magazine called him “an Industry Evangelist,”

and the South China Morning Post even called him “edgy.”

As a producer, Roth wasn't solely focused on the bottom line; he organized a Broadway fundraiser for Hillary Clinton and another for President Biden, and is quietly generous across a number of causes. He had a reputation for being both artist-friendly and aggressively advocating for shows he wanted. Roth was unusually dedicated to the tiny details too. At Jujamcyn he introduced smaller ice cubes that would melt faster to reduce clinking noises in the audience. For Mean Girls, he troubleshoot long lines for women's restrooms with ushers carrying signs that read “#FollowMe (I'm the line for the ladies' room).” The work of a producer can be tedious; collaborators note that Roth's approach has always been long on passion and short on complaining.

In 2023, Jujamcyn merged operations with Britain's Ambassador Theater Group (now ATG Entertainment), where Roth remains a board member and creative director, presumably creating a windfall for him. Two years later he sold his former apartment in the West Village for a reported \$20 million and acquired a town house that is decorated liberally with Braquenié's Coromandel silk, which sells for around \$600 per yard. He lives among paintings from Elizabeth Peyton, Francis Bacon, and John Singer Sargent; a Lalanne sculpture is currently on loan to The Met. He rechristened his 1899 home in the Hamptons, which was designed by the same architect who did nearby Grey Gardens, LoveLee, and has welcomed both Oprah Winfrey and Pete Buttigieg as guests.

It was also around this time when he started applying the same combination of money, vision, and passion that he brought to the theater to his fashion.

Until a decade ago, Roth sported a military-style buzz cut and usually wore a Prada suit in either gray, navy blue, or black with an untucked shirt, no tie, top button unbuttoned, and sneakers. In 2017, while working on upgrading the Tonys red carpet, Anna Wintour simply asked Vogue's menswear editor, Michael Philouze, “Don’t you think Jordan should wear Gucci?” So off to Gucci the two men went. There, Roth was presented with two options: a maroon tuxedo and a cherry red silk suit with a tiger embroidered on the back. He put on the latter and it unlocked something in him, an almost macho approach to dressing, of winning at all costs. And he was willing to pay.

Designers quickly embraced him. “He understands that at the end of the day, you have to enjoy what you put on your body, and it has to have a sense of humor—he’s incredibly sarcastic,” says Fernando Garcia, the co-creative director at Monse. “There is never a heavy moment with Jordan. He can talk about politics to Love Island in one sentence.”

For Roth, it also opened up something else. “I was very aware in my early days of dressing when there was a skirt on that rack. That’s women’s clothes…I was also aware when that started to drop away. It wasn’t women’s clothes or men’s clothes. It was just, those are my clothes.” Designer Iris van Herpen says he’s one of the most pleasant clients to work with. “I don’t know anyone who does it like he does—he’s so free in his approach to masculinity and femininity.... The universe is just open with Jordan.”

“I am allowing myself to paint with all the brushes” is how Roth puts it.

Eventually, Roth's appearance started to change. His body got lankier and his cheeks sharper, aided by a gluten-free, dairy-free regimen wherein, for example, he orders Goop Kitchen almond-flour pizza but picks off the cheese. His overall effect became more androgynous, whether in or out of women's clothing.

He grew his hair long past his shoulders, bleached his eyebrows, and started buying and wearing couture. Whether by his choice or their design, he is rarely seen in the front row of the grand maisons—Chanel, Dior—but instead champions another tier of the couture landscape: smaller designers such as Wun and van Herpen. Nor does he order the kind of custom-fitted little skirt suits that some VICs—Very Important Clients—flock to, but the most outrageous gowns. Take, for instance, the feather-print Glenn Martens for Maison Margiela with the matching mask and black Tabi boots that Roth wore to the 2026 Tony Awards. He towered in his seat to the point that I felt sympathy for nominated actor Nicholas Christopher, who was seated behind him. When asked what he'd like to see Roth wear, his friend the designer Thom Browne quipped, "A gray suit," and laughed before adding, "I love how he's having fun with it and how serious he is about it all."

Even fashion kids have taken notice. Reid McVey, a college student studying fashion design who works at the archival designer emporium Desert Vintage, started following Roth for his Met Gala looks but stayed for his everyday maximalism. “What keeps me hooked is how he genuinely enjoys fashion, and he’s unapologetic about it,” McVey says, noting that his style is the antithesis of the quiet luxury that defines our contemporary idea of good taste. At a brunch in the Hamptons attended by a mix of writers and Broadway people, the conversation came around to Roth and the millions of dollars he had

THERE IS A MIX OF DEAD SERIOUSNESS, DRY SARCASM, AND WONDROUS JOY IN EQUAL MEASURE. HE OFTEN LAUGHS. HE SOMETIMES CRIES. AND HE ALWAYS DRESSES AND UNDRESSES LIKE A 50-YEAR-OLD BARBIE.

likely spent on fashion. One acquaintance piped up to defend him, saying, “Listen, someone’s got to buy the couture.”

Many VICs enjoy posting about their fashion excursions—shopping for custom looks in Paris, wearing them everywhere else—but Roth has operationalized his content creation. On Instagram, he seems to have discovered that maybe his most significant talent is fanning attention in his own direction.

Jackson, his husband, a Nurse Jackie executive producer who wrote a 2020 parenting guide titled Gay Like Me, with whom he has a son and stepson, is often the sole person helping him out of elaborate looks at the end of the night. “It’s so intimate,” Roth says. And still he puts his camera on the mirror and films it.

The couple met in 2003 and married in 2012 at Jujamcyn's Al Hirschfeld Theatre in front of about 600 guests, including Donald and Melania Trump. (Roth has spoken out against Trump.) Jackson has been by his side—literally on nearly every red-carpet photo and every charity dinner—for the whole transformative ride.

When it comes to Instagram, Roth understands that the extravagance and gesticulating animation juxtaposed with nearly naked moments makes for a bizarre spectacle from which it is hard to look away. Standing in his boudoir the size of a one-bedroom apartment, Roth often looks half like Effie Trinket from The Hunger Games and half like a housewife in a Douglas Sirk film. In one video he gives a tutorial on mixing prints. “I think everything can go with everything,” he says as he pairs a black-and-white polka-dot pussy-bow blouse with black-and-white plaid pants, a black-and-white tweed jacket, and a zebra-print clutch. In another video he shows off a flesh wound on the back of his neck from a zipper pressing against it all night. He almost always seems to be having fun at his own expense.

Not everyone is charmed. “He’s so profoundly unserious right now,” says someone who’s known Roth for years, not hesitating to gossip about their charismatic friend anonymously. They say this with love, they hasten to add—they feel Roth is too smart for this, that he’s laying out a lot of money and effort into something that doesn’t require his intelligence and won’t earn him more Tonys. The implication is that pursuing social media fame is fine for an influencer, but why is he doing it, to what end? There is no obvious monetization—or any need for it. His peers find it all a bit baffling. “Jordan wasn’t happy just being rich and having a great life,” one New Yorker snipes. Perhaps instead of naming his Met dress Sisyphus, they would have called it Narcissus. Roth’s retort to all that is that “accusations of unseriousness are how girly boys have been put in their place since the beginning of time.”

To Roth, his entire life is performance and it is his art. “We are all in daily acts of performance, but I don’t take the word ‘performance’ to imply artifice,” he says.

He means the art part literally. The next time I visit Roth's studio, in late April, he is rehearsing a solo show that will coincide with the opening of the 2026 Venice Biennale, considered the art world's holiest of holies, a goal to which most artists spend their whole careers aspiring. Roth has spent months planning a performance artwork inspired by Irene di Spilimbergo, a 16th-century painter, student, and muse of Titian who at one point lived in the Palazzo dei Fiori. A collaboration with Performance Space New York, Roth's artwork saw him cut collages out of life-size vinyl prints of di Spilimbergo's paintings, revealing himself behind them. A digital camera captured images every six seconds.

Like the Met fitting, there are once again about 15 people in his studio, including Julia Crockett, a movement coach who is helping guide Roth to remember the choreographed cutting and poses they had worked out. She watches intently and calls out shorthand between them. “Yes...yes.... Do your thing.... Nice, nice, love it.... This is great to linger on, it’s very strange.”

The piece played twice in Venice to an audience from a mix of backgrounds: Michèle Lamy, the wife and muse to Rick Owens, was there; the gallerists Glenn Scott Wright and Jeanne Greenberg

Rohatyn; Scott Rothkopf, the director of the Whitney Museum, where Steven Roth was a trustee. If he was viewed as an art-world interloper, Roth has enough influence and goodwill that no one was really going to say that out loud. One Biennale attendee, impressed by Roth's commitment, tells me, "He definitely gave his all. But this woman next to me was straight-up scrolling his Instagram feed and looking at his Met Gala look."

Roth says the purpose of the piece was to meld with the paintings. “What keeps coming up for me is this object-subject. So I’m looking at the painting, then I am changing the painting. I am being viewed while I have the ability to see while I am being seen,” he says. Narcissus, again.

KINKY BOOTS "I would love to see him do Steel Magnolias," says The Shards costar Kaia Gerber. Clothing by Ferragamo; shoes by Thom Browne.

The performance garnered some coverage in elite arts publications. There were photos in a New York Times recap of the Biennale. Art Forum called Roth “the soaring, fashion-forward image-generator who is not only the GOAT of Broadway producers but also a red-carpet mainstay of the Met Gala.”

It wasn't Roth's first foray into the art world, a realm so snobbish that it makes fashion look downright homey. Roth added performance artist to his résumé in 2025 with “Radical Acts of Unrelenting Beauty,” where he soared above cloth re-creations of the I.M. Pei pyramid outside the Louvre, the venue that also inspired mementos given to special guests. The New York Times ran a rosy story in advance of his debut with accompanying videos of Roth in a white gown. Many critics remain skeptical that this artist's debut, or any artist's debut, deserved to be in the Louvre. Someone who attended a dinner in Manhattan for a cause Roth chaired recounts how CONTINUED ON PAGE 168

VANITY FAIR'S

2026

Best Dressed List

Miss MICHAELA COEL

MR. COLMAN DOMINGO

Mr. JACOB ELORDI

Miss PALOMA ELSESSER

Ms. FRIDA ESCOBEDO

Miss LOUISA JACOBSON

Miss HUNTER SCHAFER

Mr. HARRY STYLES

Miss TEYANA TAYLOR

Miss ANNA WEYANT

MADE IN NEW YORK

For the first time this decade, Vanity Fair presents a Best Dressed List. Much has changed in this millennium's Roaring Twenties:

The pandemic elevated athleisure to unlikely, undeserving places, including the office and the cocktail bar; the return of Donald Trump to the presidency has exalted bad taste—just take a look at the Oval Office; and the fashion industry is on the other side of a two-year overhaul, with designers moving from house to house to varied degrees of success. Fashion is moving at breakneck speed, and not all of it, dare we say, is very good. The rise of quiet luxury has made many of the clothes on the runways and online look the same. Conservatism disguised as internet buzzwords (by which we mean the tradwife, for one) has walked fashion back a few years, or decades.

As the eminently quotable Yves Saint Laurent once said, “Fashion fades, style is eternal.” Or perhaps we look to Truman Capote, who wrote that good style is a “matter of underdressing”—even if some of our maximalists would cause him alarm. Thus this year’s list honors those who do more than wear clothes well or live their lives in head-to-toe ensembles handed to them by eager PR apparatchiks. Our honorees embody an idea: They are devout dressers whose appetite for beauty and self-invention is as voracious as their idiosyncratic taste. The inductees transcend generations, occupations, and sensibilities. They are as passionate about a vintage French chore jacket or a thrifted pair of earrings as they are beguiled by the charms of haute couture. They are originators and inspirations—they are, we could say, always on the mood board.

These 10 honorees and those in the categories that accompany them were selected by the staff of Vanity Fair from hundreds of suggestions, following weeks of deliberation. VF

TEYANA TAYLOR

Because she's brought pizzazz to haute couture and mostly styles herself

OCCUPATION Actor, singer

RESIDENCE Atlanta, New York City, and Los Angeles

NOTABLE LABELS Chanel, Tom Ford, Thom Browne, Schiaparelli, Ashi Studio

FASHION PASSION Bijoux, couture, and a snatched waist

MOST MEMORABLE LOOK OF THE YEAR An ankle-length curled organza coat by Veronica Leoni for Calvin Klein Collection paired with Tiffany & Co. diamonds

STYLE IN ONE WORD Indomitable

STYLIST Self

EM 677EP

JACOB ELORDI

Because of his ability to make a shopping bag look like an It bag OCCUPATION Actor RESIDENCE Los Angeles and Byron Bay, Australia NOTABLE LABELS Bottega Veneta, Cartier FASHION PASSION Vintage workwear, luxury handbags, and squeezing a book into the back pocket of a pair of jeans MOST MEMORABLE LOOK OF THE YEAR A Chanel women's blazer paired with white trousers and black leather lace-up derby shoes STYLE IN ONE WORD Boyfriend STYLIST Wendi Ferreira and Nicole DeJulio

LOUISA JACOBSON

Because she makes both a leather suit and Joan of Arc-esque armor exude gender-agnostic sex appeal OCCUPATION Actor

RESIDENCE New York City

NOTABLE LABELS Tom Ford, Kallmeyer, Khaite, Eckhaus Latta

FASHION PASSION A very good suit or an equally sharp shoulder, plus some elongated sunglasses

MOST MEMORABLE LOOK OF THE YEAR A Dilara Findikoglu armor-cum-dress embellished with coins, safety pins, and other knickknacks

STYLE IN ONE WORD Audacious

STYLIST Edward Bowleg III

2026 Best Dressed List

MICHAELA COEL

Because such proficient use of color and volume requires a sense of adventure

OCCUPATION Actor

RESIDENCE London

NOTABLE LABELS Givenchy, Schiaparelli, Loewe

FASHION PASSION Colorblocking and some extra fabric here and there

MOST MEMORABLE LOOK OF THE YEAR

A vermilion draped top and violet pants, both cut in velvet by budding New York-based designer Colleen Allen

STYLE IN ONE WORD Undaunted

STYLIST Nell Kalonji

2026 Best Dressed List

FRIDA ESCOBEDO

Because she understands that getting dressed, not unlike designing a building, is a matter of proportion and mathematics

OCCUPATION Architect

RESIDENCE Mexico City and New York City

NOTABLE LABELS Gabriela Hearst, Bottega Veneta

FASHION PASSION Minimalism, clean lines

MOST MEMORABLE LOOK OF THE YEAR A single-dress mash-up consisting of a white T-shirt and orange fringed skirt by Alaïa

STYLE IN ONE WORD Balanced

STYLIST Self

HARRY STYLES Because he understands the power of short shorts and knows how to wear a tie, sometimes at the same time OCCUPATION Actor, musician RESIDENCE London NOTABLE LABELS Valentino, Dior, Celine, Prada, Adidas FASHION PASSION Running shorts in every context MOST MEMORABLE LOOK OF THE YEAR A tiny pair of shorts and a hulking tie, plus a white dress shirt and a blazer, all by Charles Jeffrey Loverboy STYLE IN ONE WORD Delight STYLIST Harry Lambert

PALOMA ELSESSER

Because she treats an evening gown, an archival find, or a pair of jeans with an equal dose of panache OCCUPATION Supermodel RESIDENCE New York City NOTABLE LABELS Diotima, Marni, Alaïa FASHION PASSION Sourcing and wearing the deepest of archival runway deep cuts MOST MEMORABLE LOOK OF THE YEAR A dress composed with multiple repurposed garments from the 1920s through the 1940s by designer Francesco Risso for the 2026 Met Gala STYLE IN ONE WORD Potpourri STYLIST Aly Cooper

HUNTER SCHAFER

Because there is not a pretty dress she can't make cool, nor a funky look she can't make beautiful

OCCUPATION Actor

RESIDENCE Los Angeles

NOTABLE LABELS Prada, Schiaparelli

FASHION PASSION Looking like a painting or referencing one

MOST MEMORABLE LOOK OF THE YEAR

A gold semi-sheer Roberto Cavalli dress covered in sequins and embellishments, plus soft waves on her hair

STYLE IN ONE WORD Glamazon

STYLIST Dara

2026 Bet Dressed List

ANNA WEYANT

Because no one else wears runway Marc Jacobs with such insouciance OCCUPATION Artist RESIDENCE New York City and Nashville NOTABLE LABEL Marc Jacobs FASHION PASSION A sense of play MOST MEMORABLE LOOK OF THE YEAR A head-to-toe Marc Jacobs doll-like outfit worn at the 2026 Met Gala STYLE IN ONE WORD Whimsy STYLIST Self

COLMAN DOMINGO

Because he wears everything, be that a sequined blouse or a pinstripe suit, with ease and conviction OCCUPATION Actor, director

BALCONY: VICTORIA STEVENS/AUGUST. JEANS: LUCA GROTTOLI. ALL OTHERS: GETTY IMAGES.

RESIDENCE Los Angeles

NOTABLE LABELS Valentino, Boucheron, Ralph Lauren

FASHION PASSION Extravagance and some sparkle

MOST MEMORABLE LOOK OF THE YEAR A charcoal-gray pinstripe suit custom-made by Jacquemus finished with an oversize pocket square and a floral brooch

STYLE IN ONE WORD Vigorous

STYLIST Wayman + Micah

Those whose style is enduring

TOM FORD

OCCUPATION Fashion designer MOST MEMORABLE LOOK A Ford classic: a perfectly tailored black velvet jacket and tuxedo pants accessorized with a bow tie and his signature sunglasses FASHION CLAIM TO FAME Reinventing Gucci, his black suits

DAPPER DAN

OCCUPATION Fashion designer MOST MEMORABLE LOOK A white three-piece suit with a zebra-print blouse and white hat FASHION CLAIM TO FAME His irreverent, pioneering fashion remixes and collages of various luxury brand logos

NICOLE KIDMAN

OCCUPATION Actor MOST MEMORABLE LOOK A custom blood-red sequined gown by Matthieu Blazy for Chanel. "Red is vitality," she said on the carpet at the 2026 Met Gala when asked about the story behind her gown. FASHION CLAIM TO FAME Onscreen, a variety of wigs. Off-screen, a movie star gown

TRACEE ELLIS ROSS

OCCUPATION Actor MOST MEMORABLE LOOK An Alaïa by Pieter Mulier dress consisting of a white oversize T-shirt and fringed skirt plus a leather jacket and burgundy tights FASHION CLAIM TO FAME Always being one of the first to wear a look off the runway

CHLOË SEVIGNY

OCCUPATION Actor MOST MEMORABLE LOOK An off-the-shoulder butter yellow dress with a high slit and dramatic train, here held by her son Vanja, by Chinese designer Samuel Gui Yang FASHION CLAIM TO FAME Being one of New York City's proto It girls

LAUREN SANTO DOMINGO

OCCUPATION Cofounder of Moda Operandi MOST MEMORABLE LOOK A vintage Rochas dress and jacket by Olivier Theyskens from his fall-winter 2003 collection for the house FASHION CLAIM TO FAME Being the ultimate contemporary socialite and the last swan standing, plus her much-mythologized good taste

LENNY KRAVITZ

OCCUPATION Musician MOST MEMORABLE LOOK A denim-on-denim pair of übertight jeans and matching vest with a colorful chain mail blouse underneath, some bug-eyed sunglasses, and the rock star studded belt de rigueur FASHION CLAIM TO FAME So committed Kravitz is to his look that he works out in leather pants.

GRACE JONES

OCCUPATION Singer, model MOST MEMORABLE LOOK A charcoal double-breasted suit by Michael Rider, the American designer of Parisian It brand Celine FASHION CLAIM TO FAME Having been a muse to designer Azzedine Alaïa and a generational model

AMY FINE COLLINS

OCCUPATION Journalist MOST MEMORABLE LOOK A tweed skirt suit by Thom Browne paired with a shaggy cropped jacket, all in gray FASHION CLAIM TO FAME Her devotion to Thom Browne's designs and authoring The International Best-Dressed List: The Official Story

LISA EISNER

OCCUPATION Artist, jewelry designer MOST MEMORABLE LOOK A bright turquoise cheongsam-cut dress with silver metallic jacquard motifs plus a pink feather jacket made from a Bob Mackie boa and white cat-eye sunglasses FASHION CLAIM TO FAME Her own line of bold artisanal jewelry

ALESSANDRO MICHELE

MOST MEMORABLE LOOK The bucolic straw hat and deep red velvet pants he wore while walking the cobblestoned streets of Rome FASHION CLAIM TO FAME Reigniting Gucci in the late 2010s and helping define Harry Styles's personal style

MARC JACOBS

OCCUPATION Designer MOST MEMORABLE LOOK A golden tweed Chanel blazer by Matthieu Blazy paired with wide-leg jeans and mesh flats FASHION CLAIM TO FAME He's Marc Jacobs, and he's also on the cover of the 2026 Style Issue of VF

MIUCCIA PRADA

OCCUPATION Codesigner of Prada and creative director of Miu Miu MOST MEMORABLE LOOK The tan coat she wore at the Prada spring-summer 2027 menswear runway show in Milan FASHION CLAIM TO FAME Transforming her Prada into a leading global brand—plus founding Miu Miu, an It-girl-favorite label; her incomparable jewelry collection

GABRIELLA KAREFA-JOHNSON

OCCUPATION Stylist MOST MEMORABLE LOOK A black Chanel handbag, pumps, and bra paired with a white slip skirt and a pink button-down worn open to reveal a hefty necklace stack FASHION CLAIM TO FAME A fashion multihyphenate: writer-stylist-influencer

ANOK YAI

OCCUPATION Supermodel MOST MEMORABLE LOOK A gray canvas tailored dress by Schiaparelli, which she wore immediately after walking Daniel Roseberry's fall 2026 haute couture show for the label in July FASHION CLAIM TO FAME Being one of her generation's breakout models

RACHEL TASHJIAN

OCCUPATION CNN senior style reporter MOST MEMORABLE LOOK A Prada sweater and Miu Miu slip skirt worn with a vintage pink ostrich-feather collar, a faux-mink stole, and a vintage beaded bag FASHION CLAIM TO FAME The author of the insider favorite newsletter Opulent Tips

JULIA SARR-JAMOIS

OCCUPATION Contributing fashion director of British Vogue MOST MEMORABLE LOOK Red sequined jeans and a simple white tank top with green binding to match her green satin strappy sandals FASHION CLAIM TO FAME Being one of the most compelling dressers among the fashion editors working today

KENDALL JENNER

OCCUPATION Supermodel MOST MEMORABLE LOOK The custom baby blue Chanel dress by Matthieu Blazy she wore to the 2026 Vanity Fair Oscar Party FASHION CLAIM TO FAME Her status as one of the highest-paid models working today and her penchant for good vintage

HAIDER ACKERMANN

OCCUPATION Creative director of Tom Ford MOST MEMORABLE LOOK A black suit in polka-dot jacquard worn with a silk scarf and a floral brooch FASHION CLAIM TO FAME Having masterminded some of Timothée Chalamet's best outfits, including the red backless top he wore at the Venice Film Festival in 2022

PROFESSIONALS

The industry's alpha dressers

RAUL LOPEZ

OCCUPATION Designer of Luar MOST MEMORABLE LOOK A laser-cut black and yellow suit of his own design that closed his spring 2026 Luar show FASHION CLAIM TO FAME A well-regarded fashion designer who cofounded the pioneering label Hood by Air

Our most outlandish, innovative dressers

SPIKE LEE
OCCUPATION Filmmaker MOST MEMORABLE LOOK A Louis Vuitton basketball-net purse—ball included—with a warm-up shirt FASHION CLAIM TO FAME Being the Knicks' most committed celebrity fan

ALYSA LIU

OCCUPATION Olympic figure skater MOST MEMORABLE LOOK A Louis Vuitton-created strapless gown with a voluminous mille-feuille skirt designed to resemble human muscle and tissue as well as the waves her skates carve into the ice FASHION CLAIM TO FAME Her signature hair with its stripes of bleach

COLBY MUGRABI
OCCUPATION Founder MOST MEMORABLE LOOK A paper doll-like Marc Jacobs gown with a Disney-princess quality and trompe l'oeil drawn-on details FASHION CLAIM TO FAME An encyclopedic knowledge of couture
OCCUPATION Director of the Studio Museum in Harlem MOST MEMORABLE LOOK A gown with a draped detail at the midriff FASHION CLAIM TO FAME Wearing the brightest outfit at an art function

THELMA GOLDEN

HILTON ALS

OCCUPATION Writer MOST MEMORABLE LOOK A blue-and-white-striped oxford shirt, a gray sweater, and a stately, almost royal—though unexpected—black jacket with fur accents FASHION CLAIM TO FAME His very nice cardigans

POPE LEO XIV

OCCUPATION Head of the Catholic Church

MOST MEMORABLE LOOK Even prior to the papacy, Leo, FKA Father Bob, took his modest cream cassock to heavenly heights by pairing them with Nike's FASHION CLAIM TO FAME Leo has kept his sense of wry casualness, sometimes sporting baseball caps

ROSALÍA

OCCUPATION Singer MOST MEMORABLE LOOK A slashed McQueen dress in a floral jacquard designed by Seán McGirr FASHION CLAIM TO FAME Making otherwise peculiar-looking fashion seem easy and sexy

SANDY POWELL

OCCUPATION Costume designer MOST MEMORABLE LOOK Some classic boots with slim black trousers and a three-dimensional structural houndstooth blazer FASHION CLAIM TO FAME Wearing some very cool, very graphic suits

YSEULT

OCCUPATION Singer MOST MEMORABLE LOOK A custom ensemble by Harris Reed featuring a shimmering golden bodice and a draped collar FASHION CLAIM TO FAME She'll always surprise you.

BJÖRK

OCCUPATION Singer MOST MEMORABLE LOOK A coat made of crocheted fringe by Louise Trotter for Bottega Veneta with a Shinji Konishi fox headpiece FASHION CLAIM TO FAME Being one of music's most original dressers

RIHANNA & A\$AP ROCKY

OCCUPATIONS Singer and Fenty founder; rapper MOST MEMORABLE LOOKS At the 2026 Met Gala, she wore a Maison Margiela gown made with 115,000 crystal beads; he donned a Chanel smoking robe with black satin lapels. FASHION CLAIM TO FAME Being two of the best dressed musicians today

KIM KARDASHIAN & NORTH WEST

OCCUPATIONS Reality TV star and Skims cofounder; daughter of Kardashian and Ye MOST MEMORABLE LOOKS The hooded dress and safety pin dress (accessorized punkily with a Balenciaga bag, and studded boots) that the pair respectively wore at the Venice Film Festival FASHION CLAIM TO FAME Individualism—like mother, like daughter

EMMANUEL & BRIGITTE MACRON

OCCUPATIONS President and first lady of France MOST MEMORABLE LOOKS For the US-France state dinner, he wore a black suit while she wore a gown by Louis Vuitton. FASHION CLAIM TO FAME Arguably the most polished first couple today

STAVROS NIARCHOS & DASHA ZHUKOVA NIARCHOS

OCCUPATIONS Businessman; entrepreneur MOST MEMORABLE LOOKS His, a simple slim-cut black suit; hers, a burgundy Prada dress with a matching embroidered jacket FASHION CLAIM TO FAME Her penchant for Prada and understated good taste.

LAW ROACH & ZENDAYA

OCCUPATIONS Stylist; actor MOST MEMORABLE LOOKS The outfits they wore to the Louis Vuitton 2027 cruise runway show at The Frick Collection in New York City—he, a leather jacket; she, a minidress, both by the French house FASHION CLAIM TO FAME Their prolific agenda-setting stylist-actor partnership

MARY-KATE & ASHLEY OLSEN

OCCUPATIONS Designers of The Row MOST MEMORABLE LOOKS Their matching black coats—and lived-in handbags—worn while out in New York City FASHION CLAIM TO FAME Their much-photographed outfits and their influential designs

MORGAN SPECTOR & REBECCA HALL

OCCUPATIONS Actors MOST MEMORABLE LOOKS The blue shirt and tucked-in-tie look he wore and the barely there dress she wore to a Met Gala after-party, both Tom Ford by Haider Ackermann FASHION CLAIM TO FAME Coordinating with each other without being matchy-matchy

TIMOTHÉE CHALAMET & KYLIE JENNER

OCCUPATIONS Actor; reality TV star and makeup maven

MOST MEMORABLE LOOKS At the Oscars, he wore a white Givenchy by Sarah Burton suit, and she donned a red dress by Schiaparelli.
FASHION CLAIM TO FAME Their viral matching Chrome Hearts orange looks

RICK OWENS & MICHÈLE LAMY

OCCUPATIONS Founders of Rick Owens and its parent company, Owenscorp MOST MEMORABLE LOOKS His, a tailored coat of his own design; hers, a top made of ropelike material and leather boots, also by Rick Owens FASHION CLAIM TO FAME The singular universe they've built with Owenscorp and their many friends and acolytes

Romantically, platonically, familially, or otherwise linked ensembles

SARAH PAULSON & HOLLAND TAYLOR

OCCUPATIONS Actors MOST MEMORABLE LOOKS At the 2026 Vanity Fair Oscar Party, Paulson wore a look by Matières Fécales and Taylor was dressed in a brocade black jacket by Christian Cowan. FASHION CLAIM TO FAME Neither seems to dress to complement each other, yet somehow they always do.

The rising generations

GUITARRICADELAFUENTE

OCCUPATION Singer MOST MEMORABLE LOOK A custom Jonathan Anderson for Dior forest green Edwardian-style jacket with floral embroidery paired with relaxed light-wash jeans and worn shirtless FASHION CLAIM TO FAME Wearing Anderson's Dior, very, very well

ODESSA A'ZION

OCCUPATION Actor MOST MEMORABLE LOOK A dramatic Harris Reed fall-winter 2026 corset and skirt gown. The actor and the designer are family friends, as Reed went to school with A'zion's sister. FASHION CLAIM TO FAME She styles herself for the red carpet.

OLYMPIA OF GREECE

OCCUPATION Socialite, model, girl-about-town MOST MEMORABLE LOOK All Demna's Gucci from head to toe FASHION CLAIM TO FAME An aura like she's never seen a cloudy day

BLUE IVY CARTER

OCCUPATION Beyoncé's summer intern MOST MEMORABLE LOOK The Met Gala amended its own age policy (and Beyoncé amended her daughter's curfew) to allow for this custom cream Balenciaga strapless tea-length dress by Pierpaolo Piccioli. FASHION CLAIM TO FAME Being her parents' daughter

OLIVIA DEAN

OCCUPATION Singer MOST MEMORABLE LOOK A custom strapless column gown by Jack McCollough and Lazaro Hernandez for Loewe featuring a delicate floral caviar beadwork all over FASHION CLAIM TO FAME How fashion houses including Chanel, Alaïa, and McQueen all outfitted her in custom dresses during her breakout year

CHASE INFINITI

OCCUPATION Actor MOST MEMORABLE LOOK A custom Thom Browne trompe l'oeil dress embellished with sequins in primary-colored brushstroke shapes inspired by the Venus de Milo FASHION CLAIM TO FAME Coming out of the gate as one of the best-dressed actors of the 2025–2026 awards season

LUX PASCAL

OCCUPATION Actor MOST MEMORABLE LOOK A Chanel by Matthieu Blazy drop-waist dress with gray and white floral embellishments and a flowy skirt FASHION CLAIM TO FAME Being as stylish as her brother Pedro and walking Blazy's first runway show for Chanel in October 2025

TYLA

OCCUPATION Singer MOST MEMORABLE LOOK She brought the words of her hit song "Chanel" ("Put her in Chanel") to life by performing the single in a Matthieu Blazy for Chanel set FASHION CLAIM TO FAME Showing as much skin as possible in the most glamorous way

ISHA AMBANI

OCCUPATION Retail executive MOST MEMORABLE LOOK A custom Gaurav Gupta sari woven with pure gold threads by master artisans plus a bustier embellished with more than 200 old-mine-cut diamonds and stones from her mother's private collection FASHION CLAIM TO FAME Her patronage of Indian couturiers

ERLING HAALAND

OCCUPATION Soccer player MOST MEMORABLE LOOK The white silky suit and draped scarf he wore to the Dolce & Gabbana Alta Sartoria event in Sicily fresh off the World Cup FASHION CLAIM TO FAME Being an athlete with a Birkin bag obsession and his blond man bun

THE COWBOY

James Simmons, based in Yonkers, New York, astride Falcon. His ilk are the embodiment of hard-won American elegance, made and beautifully worn. Clothing by Louis Vuitton Men's.

THE UNITED STATES

OF

STYLE

What does this country look like today, at one of its most culturally fragmented moments? That's a mirror not everyone wants to hold up. As the nation enters its 251st year, Vanity Fair documents an array of contemporary characters who embody American style archetypes

FASHION EDITOR TONNE GOODMAN PHOTOGRAPHER LUIS ALBERTO RODRIGUEZ

THE SCENE

Today's cool kids, whether internet-famous TikTokers or jack-of-all-trades creative Zoomers, are a call back to the original '60s youthquake, which gave us both sexual freedom and the miniskirt. "Everyone here looks like someone I know, or love, or hate," says a photo assistant on set. It's true: They live rowdy lives and wear unruly clothes: You will never know what—or who!—they do based on their clothing. But they're up to everything. This raucous crew includes a DJ, an influencer, several stylists, a painter, and some whose careers are undefined, but whose style is sharp. First from the left: skirt by Prada; shoes by Chanel. Second from the left: jacket and jeans by Tom Ford; sweater by Celine; boots by Fendi Men's. Third from the left: slip by Miu Miu. Fourth from the left: dress and shoes by Prada. Second from the right: top and skirt by Schiaparelli.

THE SUITS

Mary H.K. Choi, author of Pool House, says she feels invincible in her Saint Laurent two-piece. Journalist Jacob Soboroff typically does not wear a suit when he's anchoring his MS NOW show, but he sets the drift here. These two, along with, say, New York City mayor Zohran Mamdani, represent a new kind of power dresser. Suit by Saint Laurent by Anthony Vaccarello; shirt by Tom Ford. Opposite: trench coat by Celine; suit and shirt by Loro Piana; shoes by Brunello Cucinelli.

THE CLEAN GIRLS

Actors Anna Van Patten and Phoebe Tonkin are the internet era's definition of girls next door. By way of Carolyn Bessette-Kennedy and in the great tradition of 1990s minimalism, the clean girl is the new archetype of a certain sort of beauty. On Van Patten, dress by Alaïa; on Tonkin, dress by Courrèges.

THE FACE

In the age of protein, peptides, and looksmaxxing, everybody wants to look new. Marlon Lundgren Garcia, a Swedish-born model and internet streamer, is the kind of face (and six-foot-five physique) of perfection a generation of men pursue for themselves. Tank top by Gucci.

THE BODY

"Titties sittin' pretty, and I'm lookin' like a snack," raps the Floridian rapper JT, pictured here, in her 2024 hit "Okay." "40-inch buss down, we know that bitch Black," she continues, synthesizing the bodacious look and spirit of the American baddie. Dress by Dolce & Gabbana.

THE HIPPIES

"Don't forget I was a hippie," says Tonne Goodman as "Everywhere" by Fleetwood Mac reverberates in the studio and a flock of free spirits let loose in some runway designs. As Madonna once said, "You can be a spiritual person and like to go shopping at Prada." First from the left: jacket by Bode. Second from the left: coat by Ann Demeulemeester. Second from the right: top and pants by Alixe of Bohemia. First from the right: dress by Etro. Opposite: First from the left: top by Gabriela Hearst.

THE SWAN

Dynasties are an amalgamation of mythology and pizzazz. Princess Talita von Fürstenberg, an American born German princess and a Los Angeles and New York City—made It girl, shows us the green light at the end of the dock. Dress, gloves, and earrings by Givenchy by Sarah Burton.

THE ARTISAN

Emily Adams Bode Aujla, the Atlanta-born, Connecticut and New York-based designer and founder of Bode, has given 21st-century traditionalists and green-thumbed fashionistas a new uniform. Clothing by Bode.

THE PREPPI

Millennial preppies are competitive, determined, and not necessarily polite. They're also not frat kids but a group of rambunctious Vanity Fair writers and editors whose remit ranges from politics and crime to style and culture: Lindsey Underwood, Nate Freeman, José Criales-Unzueta, Elise Taylor, Aidan McLaughlin, Chris Murphy, Clara Molot, Daniela Tijerina, and Caitlin Dickson. First from the left: shoes by Bottega Veneta. Third from the left: clothing by Ralph Lauren. Fourth from the left: sweater-vest and shirt by Dries Van Noten. Fourth from the right: shirts by Ralph Lauren; jeans by Celine. Third from the right: shirt by Alex Mill. Second from the right: sweaters by Ami Paris (argyle) and Rabanne. First from the right: skirt by Coach. For additional credits, see page 175.

In his four decades as one of fashion's most prolific and dynamic figures, Marc Jacobs has weathered personal storms and professional crises, and come back stronger each time. Now, as his business enters its next era, JOSÉ CRIALES-UNZUETA gets the full story from the king of reinvention

INDELIBLE MARC

128 VANITY FAIR

PHOTOGRAPHER JEREMY LIEBMAN victim,” Marc Jacobs declares. He’s sitting in the showroom of his office in SoHo, on the other side of a long glass table. Behind him, on shelves and tables across the glossy black floors, is his commercial collection: the wallets, leather accessories, the new Scene handbags in pastels and bright colors.

ll I've ever been is a fashion

“I don’t think of that as a bad thing,” he clarifies.

It's mid-July, one of the hottest days of the summer, and he is wearing ballet flats, jeans, a zip-up hoodie, and a multipocketed parka, all in black, none by Marc Jacobs. He doesn't come to the city often—he spends most of his time in the 1955 Frank Lloyd Wright house in Rye, New York, purchased in 2019 and in the process of renovation ever since. But he's here today, and he is ready to figure out, in real-time conversation, exactly where he's heading.

In May, word came that after an almost 30-year partnership LVMH Moët Hennessy Louis Vuitton was selling Marc Jacobs, the label, to a joint venture between brand management company WHP Global and G-III Apparel Group. As part of the deal, Jacobs will also sell his remaining stake in his company. The change marks the end of an era in fashion and portends the beginning of another one for Marc Jacobs, the man.

There have been many eras, and many Marcs: Marc Jacobs debuted in 1984 with a collection of smiley face sweaters and polka-dotted separates that announced his perspective: playful, youthful, high-low, and optimistic. In the '90s, he translated the anti-fashion sentiment of grunge into chiffon dresses and flannel-look silk shirts that mirrored what Kurt Cobain would wear. You can find a black blazer embellished with butterflies—the motif of the era—on eBay for \$24,999.

That keen understanding of right now is how and why he became, in 1997, the artistic director of Louis Vuitton, launching ready-to-wear and setting the foundation for one of fashion's most recognizable modern brands, years before Zendaya and Rihanna fronted its campaigns. Once upon a time, everything Jacobs touched became a thing.

As he has aged from wunderkind to stalwart, Jacobs has weathered scandals and temporary downfalls, with the highs and lows of his brand and his personal life—complicated relationships, drug addiction—and yet he always recovers. If Marc Jacobs has nine lives, he is arguably living his seventh.

At 63, Jacobs is not the most successful American designer of his generation by certain definitions—not the most ubiquitous nor the richest—but he may be the most inspiring, and the most beloved. “A North Star,” as Sofia Coppola puts it. Thom Browne calls him “one of the pillars of American fashion.” And now there’s close to a billion dollars on the line that everything he touches will once again become a thing.

JACOBS IN PARIS AND: COURTES OF MARC JACOBS INTERNATIONAL/24. WEDDING: ROBERT FAIRER. KILT: RANDY BROOKE/WIREMAGE. WITH ANNA SUIT: ERIK WEISS/WVD. WITH KATE MOSS AND BROWN TURTLENECK ROSE MARTMAN VIA GETTY IMAGES (5). WITH SOFIA COPPOLA: JUERGEN TELLER. VF SPREAD: STEVEN MEISEL.

DAYS OF THUNDER At Parsons School of Design, Marc Jacobs was named design student of the year. Soon he would take New York by storm and be featured in the pages of Vanity Fair, shot by Steven Meisel.

Jacobs Makes His Mark

In taking over the top job at Perry Ellis, Marc Jacobs has leapt into the fashion big leagues at the tender age of twenty-five. On the eve of Jacobs's first—flag-waving—collection, BRAD GOOCH trails a style baron in the making

"WHAT ALL DESIGNERS HAVE TO REALIZE IS THAT IF YOU DO GOOD WORK, YOU WILL SURVIVE," THOM BROWNE SAYS. "AND MARC HAS ALWAYS DONE GOOD WORK."

ON HIS MARC "I don't think anything will ever top that," Jacobs says of his grunge collection for Perry Ellis that shook fashion in 1992. Photograph by Irving Penn.

“ It’s become really difficult for me to have a conversation anymore without already going through in my head the different facets of it,” Jacobs tells me. This is his first extensive interview about the sale of his label, which is still in process. He appears to still be resolving his feelings about it as we talk.

“There’s no yes or no,” he says, answering no specific question but musing that there is no singular vision for his brand’s future. “It could be this, it could be that. Where am I now? Where are we now? What do we mean to this generation of people? That generation of people? There’s so many questions.”

“And I don’t have any definitive answers,” Jacobs says, taking a hit of his vape, the respectable-looking rechargeable kind, not the disposable ones favored by the younglings buying his handbags off resale sites. “I remain kind of positive, I guess is the easiest way to say it.”

Moving from the hands of Bernard Arnault and LVMH to Yehuda Shmidman, chair and CEO of WHP Global, whose fashion vertical includes Vera Wang, G-Star, and Bonobos, and Morris Goldfarb, chairman and CEO of G-III, whose portfolio includes Donna Karan and Karl Lagerfeld, Jacobs says, is perhaps going to be a lesson in “the devil you know versus the devil you don’t know.”

“When I met Yehuda, he just seemed really enchanted with the idea of Marc Jacobs the company and what we represent,” says Jacobs. Shmidman confirms. “Marc is incredibly talented,” he tells me over a video call from Hong Kong, “as a founder, as an

"IF I DON'T WANT TO ANSWER, I WON'T," JACOBS SAYS, "BUT I'M NOT GOING TO LIE ABOUT IT.... I GET A GOOD FEELING ABOUT BEING HONEST."

artist, as just a driver of culture. In many ways, he's one of one."

By way of their joint agreement, WHP Global and G-III are acquiring Marc Jacobs International from LVMH for at least an estimated \$850 million. (LVMH does not disclose brand performance, but a source familiar says Marc Jacobs was profitable at the time of the agreement.)

“It’s a big number, and it’s warranted,” Shmidman says. “It’s a big number for a big reason.”

Shmidman sees a “very large” prospect to grow the Marc Jacobs business globally. WHP Global, he says, currently owns 16 brands doing \$10 billion in retail sales in more than 80 countries. “We have a track record with founders and real fashion talent,” he says.

Shmidman, at least on paper, represents the kind of enterprise that someone like Arnault is comfortable doing business with. It’s why WHP Global is the acquiring partner in the equation. G-III and Goldfarb, who is an old-school garmento, on the other hand, have a less elegant connotation in the industry: It’s the place where once-great brands by great designers like Donna Karan or Halston have, as critics would say, been stripped of their soul. G-III is as much a fashion company as it is an IP machine, and in addition to owning brands, it also operates licenses.

Which is perhaps why Jacobs feels his meeting with Goldfarb went a little differently. “I mean, it’s not that he wasn’t excited,” Jacobs says. “He just seems like a very different personality.” And then, “He’s just coming from a different place, I think.”

“I think there’s enough reasonable doubt that says this kind of interference never goes well,” Jacobs says, acknowledging skepticism about the new deal. “For people who don’t really have all the facts and figures and evidence, I think this just looks like a recipe for something else.” In other words, a licensing business.

As Shmidman worked through the deal with LVMH, he struck another one with Goldfarb in which they will each own 50 percent of the Marc Jacobs IP. Per public documents, G-III will invest \$425 million in the 50-50 joint venture, also acquiring the operating business of the Marc Jacobs brand and managing the license, which in terms of scale means proliferating product. As in: More Marc Jacobs coming to a retailer near you. He expects the deal to close by October at the latest.

During our conversation, Goldfarb seems attuned to the wariness but prepared with counterpoints. He suggests the successes G-III had scaling Calvin Klein and Tommy Hilfiger with their owner, PVH, as a licensor, and their ongoing revamp of Donna Karan as proof of their commitment. “You’ll find that, uniquely, we have a level of respect for each brand individually,” Goldfarb says of his approach.

He hopes for Jacobs to remain as involved as he'd like to: “The more he is willing to give, the more we will take,” Goldfarb says. “We are not the adversary, we're his partners.”

While Shmidman did not disclose certain details of Jacobs's new setup, such as his compensation or contract terms, he underscores that Jacobs's presence is crucial, and that WHP and G-III are inheriting the infrastructure built by LVMH, through which Jacobs remains creative director.

“We’re the beneficiary of walking into a business that has been owned by LVMH,” Shmidman says. “LVMH is of the highest integrity and certainly brilliant at working with founders, creative talent, fashion designers. Marc is all of the above.”

Goldfarb knows moments of transition can be unnerving. “I think Marc might be a little nervous as to where it goes,” Goldfarb says. “I think if you call Marc back in 18 months, he’s going to say, ‘This is heaven.’”

Jacobs implies that his brand's relationship with LVMH was no utopia. “When people hear LVMH, they hear about this luxury titan kind of thing, but they don’t know the everyday operation,” he says. “I’m not going to put them down, but [people] don’t know about all the different CEOs we’ve had over the years, and they don’t know about all the mistakes that were made by people that [LVMH] employed,” he says. “The reality of it is that just because you’re LVMH doesn’t mean you don’t have a shit ton of problems with people you’re employing.”

“LVMH has kept us and done the least possible they can in terms of growing our business,” Jacobs says bluntly, though he doesn’t fault them for it. He knows that the conglomerate’s priorities lie with its crown jewels, like Louis Vuitton and Christian Dior. Arnault and LVMH have arguably been patient with Jacobs. He spoke fondly of Arnault when the sale was announced: “I am forever grateful to Bernard Arnault for his support, belief and trust in me over the last 30 years. It has been an honor and privilege to work alongside the Arnault Family and LVMH.” But it’s clear there are feelings, and maybe a little hurt, or at least disappointment.

“There’s no question that the industry has respect for Marc, that LVMH has respect for Marc,” says Shmidman, pointing to

VIBE SHIFT After news came in May that LVMH was selling Marc Jacobs, the brand, to WHP Global and G-III Apparel Group in a joint agreement, Jacobs's show at the New York Public Library in June took on a new meaning.

LOVE OF THE GAME "It's never been commercially successful," Jacobs says of his runway collections. "We don't make money on runway. And I doubt anybody really does."

Arnault's announcement of the sale: “Marc Jacobs is a designer of rare creativity and unique vision,” Arnault said at the time. “His impact on the world of fashion is undeniable, and I want to warmly thank him for his contribution to the success of the Maison and the LVMH Group over the last 30 years. I am confident that this new chapter will offer new avenues of opportunity for Marc Jacobs, that the brand and its designer will continue to inspire customers and creators around the world.”

“It’s quite revealing that the respect there from Mr. Arnault himself and LVMH as an institution to Marc the person is incredible,” says Shmidman. “It’s really powerful.”

In response to Jacobs's comments in Vanity Fair, a representative for LVMH said that “the Marc Jacobs brand and business has been an important Maison of the LVMH Group for almost 30 years. LVMH has, as with all its Maisons, always supported it—along with Marc’s very important runway shows—with appropriate and substantial resources, both financially and in personnel, over all this time, as demonstrated by the great success it has achieved over the recent past.”

A significant pep squad in the fashion world wants Jacobs to continue putting up his runway presentations, but the general anxiety is that the new owners may have different, more commercial priorities.

“What he really does is shows,” says stylist Alastair McKimm, who has worked with Jacobs since the pandemic. “He doesn’t make collections for anything but his runway. That then obviously trickles down into the culture, not only of the company, but of fashion in general.”

Jacobs says he's been clear with Shmidman and Goldfarb about his desire to continue showing. "They say they want to, and I try to trust people who say something," Jacobs says.

Goldfarb assures me that they plan on keeping Jacobs's runway shows for the foreseeable future.

“We’re not terminating those,” he says, even if “it may not be a forever situation.” He believes Jacobs to be “instrumental” in the creative side of the business. “The goal is not to get rid of the talent and get rid of all the marketing spend and bring it to prosperity operating on fumes,” he says. “The intent is actually the inverse.”

Jacobs's role today, in addition to being the showman, is to mastermind his fragrance and beauty lines, the latter of which was relaunched earlier this year with a hefty investment from Coty. (The deal with G-III and WHP includes the fragrance and beauty businesses. Coty will keep its license, but it will now partner with the joint venture.)

“Let’s be honest about what this is,” Jacobs says. His runway collections have “never been commercially successful. We don’t make money on runway. And I doubt anybody really does.”

The point, as he sees it, is to put on a show “that hopefully will motivate and stimulate and inspire the people that work with Marc Jacobs, the editors and the fashion people. It will give them energy.”

It's refreshing, rewarding even, to hear Jacobs say the quiet part out loud.

Jacobs was born in 1963 to a secular Jewish family in New York City. His father, who was a talent agent, died when he was six. In the aftermath, Jacobs was raised on the Upper West Side by his grandmother; he has described his mother as both mentally ill and largely uninvolved in the lives of himself and his two younger siblings. He attended the High School of Art and Design in Manhattan and college at the Parsons School of Design on the recommendation of Perry Ellis. In 1984, Jacobs was named design student of the year and won the Perry

Ellis Gold Thimble Award, as well as the Chester Weinberg Gold Thimble Award for his graduating collection.

Impressed with his work, fashion-industry impresario Robert Duffy contacted Jacobs. After several attempts at starting a line together, Jacobs and Duffy landed at Perry Ellis, where the former was appointed designer of womenswear and the latter became an executive following the death of Ellis himself in 1986.

What follows from this point has been recorded in magazine profiles, blogs, and in two documentaries. Marc Jacobs & Louis Vuitton (2007) tracks the designer's gutsy overhaul of the storied French label, which until Jacobs's arrival was known as a historic luxury trunkmaker. Marc by Sofia (2025) traces his life and career through the lens of a close friend.

The first time Jacobs was profiled in Vanity Fair was 1989, in the run-up to his first show for Perry Ellis. Even then, Jacobs's exact-ing vision, and his tension with his own industry, was apparent.

“I have to give this time, and everybody else does, and that’s my biggest worry,” Jacobs told the writer Brad Gooch. “Donna Karan worked at Anne Klein how many years before she got her own label? Ralph Lauren just celebrated his 20th anniversary. I remember when I was 11 years old looking at Calvin Klein clothes,” he continued. “You’re not given this kind of time by the press or the buyers anymore. It’s immediate gratification for everything.” (Today Ralph Lauren approaches nearly 60 years in business.)

In 1992, Jacobs presented what is now known as his grunge collection for Perry Ellis. It was generally panned by critics, and fashion lore holds that it got Jacobs, who was 29 at the time, fired, something he denies. The same annals now recognize that show as one of the defining moments of his career, which Jacobs himself has never doubted. “That show and that time was the most indicative of feeling part of a greater creative wave that represented a change,” Jacobs says today. “I don’t think anything will ever top that.”

Jacobs changed the trajectory of fashion for a second time in the 2000s by delivering the kinds of art collaborations that are now an industry standard: with Stephen Sprouse in the spring-summer 2001 collection, followed by Takashi Murakami in 2003 spring-summer, both for Louis Vuitton. (These It bags were so successful that the brand launched a re-edition Murakami collection in 2025.) This was Jacobs's Warhol moment—the bags are his Campbell's soup cans. But in private, his life was unraveling.

The first time Jacobs went to rehab for heroin and cocaine addiction was at the behest of Duffy in 1999. He went again, this time of his own volition, in 2007. Jacobs knew he had to grow up, but he did so in the style of the celebrities of that time—Paris Hilton, Lindsay Lohan, Britney Spears—with every misstep plastered across the tabloids. And he did it with panache: Once, Page Six reported that Jacobs had hosted an orgy with men he invited off Grindr. His response? To superimpose a shirtless photo of himself over the app’s logo and post it on Instagram, bidding Grindr farewell with a wink: “It was fun for ‘group’ get togethers.”

Another time, one of the nude photos he had meant to DM a man on Instagram ended up on his feed by mistake.

“I remember the Grindr thing was such a big deal,” he says now, laughing. “I’m like, Yes, I’m a gay designer who likes to have sex. What can I tell you?”

He's never been particularly afraid to reflect. "It excites me to be open, and it excites me to reveal things that somebody else would keep secret," Jacobs says. "If I don't want to answer, I won't," he says, "but I'm not going to lie about it. CONTINUED ON PAGE 174

STAND BY ME

In her latest monograph, GRACE CODDINGTON remembers her closest confidant and Vanity Fair's onetime fashion director, Michael Roberts

When my second marriage fell apart, my dear friend Michael Roberts moved into my large brownstone in Fulham, London—the house my husband Willie Christie and I shared for many

years before the breakup. Very soon, Michael had me out clubbing every night until the wee small hours, and when we got home we stayed awake till dawn, plotting, dissecting, and gossiping about who we'd found attractive. Inevitably, we'd both fancied the same guy. I gave Michael the spare room at the top of the house, and although it was only three short flights of stairs, he seldom climbed higher than the living room sofa on the ground floor.

Most mornings, I'd drive him to his office at The Sunday Times, then circle back to the parking garage under Vogue House, where my own daily circus awaited. I got to know him pretty well during that time. We only once had a real falling out, when he did a very unflattering drawing of me for his column. A rear view in a very, very tight Azzedine Alaïa with the caption “There are certain fashion editors who should know better....” It was unmis-

Excerpted from Grace: Now © 2026 by Grace Coddington. Reproduced by permission of Phaidon. All rights reserved.

takably me: huge frizzy hair and a big bottom! My vanity was shaken, but I never gave up wearing that skirt.

He came for a week and stayed nine months, until my divorce papers arrived and we both had to move out. There were even rumors that he might be named as a correspondent in the divorce—unlikely, of

course—but it gave us plenty to laugh about. Michael promised that if ever he was called to court, he’d give such a camp performance, it would be Oscar-worthy.

In my new apartment he painted the four seasons around the fireplace. Michael was endlessly creative: He made pottery, designed rugs that looked like the work of Miró or Picasso, wrote poetry, and made many beautiful books of his drawings and cutouts for both adults and children. He penned lyrics to the tune of “In an English Country Garden” for an animated film I once made. He helped reinvent Tatler under Tina Brown and served as fashion director for both Vanity Fair and The New Yorker. He brought elegance and irreverence in equal measure, and he did it all with paper, scissors, and a glint in his eye. And most remarkably, he ghostwrote Grace: A Memoir, completely inhabiting my character and capturing my voice. Though I adore the book, it was a challenging year, with many arguments and debates about the facts of my narrative and life.

Michael would often vanish for a month or two, then suddenly materialize in Brazil or Sicily. He also came to stay with me in my country house in the Hamptons while writing my memoir so that he could better interrogate me for hours on end, complain about my cooking, and generally drive me mad. Sometimes, I just had to get in my Mini Cooper, drive to the end of the road, and scream. He would stay up all night with every light in the house on and The Simpsons blasting on the TV. But somehow the book got finished.

My last memory of Michael is from his 70th birthday in Sicily, where he had relocated. I flew out to surprise him. He was radiant, wearing a paper crown he had made himself, smoking a big fat cigar, and generally holding court. He had just been honored by the Queen of England with a CBE for his contribution to fashion. Sadly, he never got to accept his award.

Michael was always there for me—this book is the first project I’ve attempted without him. I hope he approves. VF

THE AFTER-PARTY

Haider Ackermann sees his Tom Ford as the aftermath of a very good night. Here he is in Paris with a host of his close confidants, including Susie Cave, Kate Moss, Daphne Guinness, Kristen McMenamy, Lee Pace, Countess Setsuko Klossowska de Rola, Justin Padgett, Antoine Waldner, and Scott Barnhill.

A SINGULAR MAN

PRODUCED ON LOCATION BY PERROTTE PRODUCTION. FOR DETAILS, GO TO VF.COM/CREDITS.

Haider Ackermann was surprised when, in 2024, he received a call from Tom Ford, the man, summoning him to lead Tom Ford, the house. But he did not find it strange.

“There’s always been this flirtation between Mr. Ford and I, workwise,” he says. Ackermann, 55, had already built a respectable career, but the opportunity to enter the pantheon of the greats had eluded him until now.

“Getting a phone call from Mr. Ford and listening to his voice,” that deep, resonant baritone, “that is seduction,” Ackermann says. “If I want to take my role seriously, I have to embrace that and seduce us all,”

While the Paris-based, Colombian-born Ackermann says he is “terribly shy,” his collections are anything but. They are dangerously alluring, but Ackermann acknowledges that times have changed since the ’90s, when Ford brazenly sold sex as fashion. Brands today need nuance to be titillating—nudity and provocation are too available. But his runway shows exude desire: Models cruise one another, a performance that has hypnotized his audience. No other designer has synthesized erotic tension with such aplomb since Ford himself.

Sebastián Faena and I met Ackermann and his raucous entourage after his runway show in March. Supermodels Kate Moss and Kristen McMenamy tussled for the spotlight. Lee Pace and Daphne Guinness were enraptured by their

conversation. But with the help of a few martinis and the promise of the dinner that followed, the group sat for a portrait. Chaos is the norm chez Ackermann. "Everything is insane," he says. But you won't hear him complain: "It's like when you're in love, you just don't count the hours. I hope I stay in love for a long time." —JOSÉ CRIALES-UNZUETA

OH LA LA!

The most fanciful status symbol among the creative elite comes in the form of a life-size copper hippo that's a wet bar or a flock of cement sheep. Welcome to the zoomorphic world of Les Lalanne, as work by the late François-Xavier and Claude Lalanne is known. Their designs have conquered the art market, but as billionaires fixate on acquiring whole menageries, can Lalanne keep the magic? MARISA MELTZER ventures into the high-dollar world of fantastic beasts

LALANNE!

ZOOTOPIA A large brass rhinoceros designed by François-Xavier Lalanne is used as a desk by a boy in Paris in 1967. It has a piggy bank head with coin drops in the ears.

STYLE 2026 143

Last April, Bocneby's threw a preview party at its New York headquarters at the Breuer Building for an auction of design pieces from the collectors Jean and Terry de Gunzburg. There was a string trio playing classical music, custom Lalanne leaf-shaped cocktail napkins, and a raw bar full of oysters. In the middle of the warren of rooms was the star of the show, a set of 15 bronze mirrors by the French artist Claude Lalanne. They lined the candlelit room like the hall of mirrors in Versailles, but upon closer glance they had a surreal bent with vines, leaves, birds, and built-in candelabras, intricacies made all the more apparent by the Breuer's stark, almost foreboding Brutalist architecture.

The mirror set had originally been designed for

Yves Saint Laurent's Paris home. In 2009, the de Gunzburgs purchased them for about \$2.2 million at the Yves Saint Laurent-Pierre Bergé auction at Christie's. "I was seated next to her," the famous interior designer Jacques Grange tells me of his influence on his friend and client Terry de Gunzburg's bidding. When she'd hesitate as the price soared, "I said, 'Don't stop, don't stop, don't stop.' The problem was they were never installed. They're enormous and require a very specific kind of room. Now the mirrors were being auctioned again and were estimated to go for as high as \$15 million. A woman on the elevator leaving wondered aloud if they could be sold broken up. Someone with her laughed and said, "Anything for the right price," but they were both wrong. If you had to ask, you didn't stand a chance.

The next day the auction room crackled with

energy, filled with le tout New York—employees from every Sotheby's department and, from the greater art world, every relationship manager, every major art advisory, and every notable gallery—sitting for what they knew would be a blockbuster sale. One person in the audience counted seven bidders and guessed that anyone serious about winning would have been advised to go way, way above the estimate. Specialists on the phone with their clients kept their paddles in the air as the bids inched higher and higher. In the end, the set went for \$33.5 million, the highest auction price ever not just for a Lalanne, but any design work ever.

“There is some kind of Lalanne fever going on. It’s become the status symbol,” says Jodi Pollack, who spearheaded the auction as Sotheby’s chairman and co-worldwide head of 20th century design. “Alors, Lalanne, Lalanne, Lalanne! It’s poétique, it’s interesting, it’s unique. In Asia, in America, everyone wants Lalanne,” says Grange. Lalanne mania extended this spring to Christie’s, where Pomme de Ben—an apple with a monkey on the stem—sold in May for \$8.73 million, up from \$5.2 million five years prior. In December a hippo-shaped bar by François-Xavier Lalanne made in 1976 sold for \$31.4 million at Sotheby’s. Major auction winners have the choice to go public about their victories, but most choose to stay anonymous. Rumors swirled that Jeff Bezos bought the hippo. “I can’t confirm or deny that,” says Pollack with a shake of her head that seems to strongly imply he hadn’t. Even at the Met Gala this past spring, Lalanne made an if-you-know-you-know cameo: Hailey Bieber wore a Saint Laurent gown inspired by a dress from Saint Laurent’s fall-winter 1969 haute couture collection, which he designed in collaboration with Claude Lalanne.

Les Lalanne, as work by the late married couple is collectively known, doesn't need any individual collector at this point. It's easy to spot, often in brass, mostly furniture or sculptures of animals and plants, with more than a hint of fairy tale: a desk in the form of a rhino, a bed in the shape of a bird, a seat in the shape of a camel, a fork in the shape of a ginkgo leaf. Headline writers like to use words like menageries and beasts to describe it. Les Lalanne have been collected by the French fashion scene since the 1960s, not just by Saint Laurent, but by the Rothschilds, whose 1972 Surrealist Ball was both attended by and featured costuming from Les Lalanne, most infamously the fluted bronze bust and face covering worn by collector Charlotte Aillaud. Other key members of the midcentury

Paris social set loved their Lalannes: the Agnellis, the Noailles, Gunter Sachs, the Schlumbergers, Karl Lagerfeld, Valentino Garavani, and Serge Gainsbourg; art collectors like the

de Gunzburgs and Jane Holzer and the architect Peter Marino were also early champions. And then, about two decades ago, another wave of younger collectors emerged who helped spread the fervor around America, such as the fashion designer Reed Krakoff, Moda Operandi cofounder Lauren Santo Domingo, and Dasha Zhukova.

Now that Les Lalanne have proven themselves to be big business at auction houses, the question is whether their legacy can be seen as more than just design, but fine art. And maybe more importantly, are they becoming the Birkin bag of the art world, something once acquired as a signifier of good taste, now coveted by everyone with enough money? Or, as Caroline Hamisky Lalanne, Claude's eldest daughter,

puts it on the phone from France, “Now you have people who don’t know anyone with a lot of money who want a Les Lalanne.”

François-Xavier Lalanne, who was born in 1927, started working in the late 1940s as a guard in the Louvre's Egyptian and Assyrian galleries. But that was just a day job—he was an artist who had a Montparnasse studio

next door to Constantin Brancusi and where Man Ray worked. In the 1950s, François-Xavier worked at an architecture firm where Claude's husband also worked. The two began a dalliance in 1952 and married in 1967, bringing three daughters for Claude and one daughter for François-Xavier to the relationship.

The family lived in Ury, France, south of Paris, near Fontaine-bleau, which is famous for its royal palace and almost mystical

WILD AND WOOLLY

Clockwise from top: François-Xavier and Claude Lalanne sitting on camels in a sand quarry near their home in 1976; Valentino Garavani in Gstaad, Switzerland, with his flock of sheep; Yves Saint Laurent (right) adjusting a winter 1969 collection gown featuring breastplates by Claude. Opposite: a portrait of Claude taken by François-Xavier in a frame made by Claude.

FURTHER REFLECTION

Clockwise from top left: an ensemble of mirrors for Saint Laurent and Pierre Bergé; Serge Gainsbourg with a sculpture by Claude in 1982; sketches by Claude from The Paris Review; Reed Krakoff's daughter playing among the sheep at their East Hampton home in 2011; Claude's Pomme de New York and François-Xavier's Oiseau de nuit (grand) on Park Avenue in New York in 2009; a sheep in the window of Bergdorf's in 2006; Gunter Sachs's Gstaad pool.

woods. First they bought a house, then property on the other side of the street, turning their compound into something almost like a farm, with a lot of small stone buildings, including Claude's and François-Xavier's studios, and a large garden. Their sculptures were scattered throughout the inside and outside, with a bronze elongated deer to sit on in front of a fire and massive human-size lily sculptures in the garden. But there was also the banal: a bronze paper towel holder one of them made because they simply needed it.

Claude worked with galvanized materials, which meant coating organic material in copper or bronze and dipping it in an electroplating bath, which burns out the organic material and leaves a metallicized version of what was once there. She would gather branches or leaves from her property and put each separately in the bath and assemble her work, like the Saint Laurent mirror set, piece by piece. François-Xavier knew how to weld, but he also sculpted in clay and plaster molds and then cast his large, usually zoomorphic pieces. An easy way to tell them apart is that his oeuvre is mostly large and made up of animals, while hers, smaller and more detailed, takes inspiration from the plant world. "They worked all day, with the assistants arriving in the morning, maybe into the night with a trip into Paris for dinner. They never rested," says Caroline.

Perhaps the most remarkable part was that, in this postwar time when few women, let alone the wives of fellow artists, were given much due, Claude Lalanne was a sculptor in her own right. “François-Xavier had no need or interest in overshadowing or putting her aside. It was his idea to call their work ‘Les Lalanne,’” says Paul B. Franklin, a Paris-based independent curator. “She wasn’t going to let being a mother or being married derail her. There was room for all of it. It just doesn’t mean that was easy.” Terry de Gunzburg agrees. “Maybe Claude was more sensitive to not being recognized as a major artist. François-Xavier had more distance. They were workaholics; nothing came by chance.”

Soon, Claude began to work on a larger scale. She had been making smaller pieces, such as cutlery and necklaces, and in the '60s she started branching out, making life-size casts of people, usually using friends and family as models, including Caroline, her daughter, while pregnant.

Les Lalanne were not only bucking a wave of 1950s domesticity, they were also going against the prevailing currents of that era's art. They weren't making abstract work, but something more in debt to the Surrealists who came before. And their association with the world of fashion wasn't considered very high art. In the 1960s, Les Lalanne worked on the windows at Dior in Paris, which is where they originally met Saint Laurent. "She was modern, very funny, she loved seducing people, charming, putting on some makeup, going to dinner.... She was a true character," says Olivier Bialobos, the chief communications and image officer at Dior, who met Les

Lalanne decades ago. He remembers a doctor telling her to stop smoking, so she decided to stop, but only indoors, and hid the cigarettes under the couch cushions.

It was a warm and fun way of country life. "Like any couple, they fought—I thought it was funny the idea that they even fought," says Jane Holzer, their friend and collector. He was more reserved and kind and enjoyed telling jokes, while she was more direct, a bon vivant. “They were just them, they worked all day, they ate well,” Holzer says. Everyone who talks about spending time at the Lalanne home mentions the food: fraises des bois that Claude loved, good cheese, sausage, lots of wine. “Claude, she could drink a guy under the table,” adds Holzer. “One night we started out with vodka, and I honestly don’t know how many she had. And then a few bottles of very good red wine and she was not even drunk, and I think she was 92 years old. I mean, that’s my girl, come on. I would swallow three glasses of wine and be under the table!” Stories of their drinking prowess abound. “They were both chitty-chatty, great company, and they thought nothing of downing two bottles of wine. I was like, just a minute, I gotta crawl home,” says Marino.

"ALORS, LALANNE, LALANNE, LALANNE! IT'S POÉTIQUE, IT'S INTERESTING, IT'S UNIQUE. IN ASIA, IN AMERICA, EVERYONE WANTS LALANNE."

—JACQUES GRANGE

GAINSBourg L'HOMME ATETE DE CHOU!

HEAPS OF SHEEPS

Top: Unique Structure Végétale Bed by Claude, on display as part of the Pauline Karpidas 2025 showcase at Sotheby's. From left: "Sheep Station," a 2013 exhibition of 25 of François-Xavier's iconic epoxy stone and bronze "Moutons"; Gainsbourg's 1976 album L'Homme à tête de chou, featuring cover art showcasing a surreal bronze sculpture by Claude; a rare 1970s poster featuring François-Xavier's rhinoceros on gold paper. Opposite: François-Xavier's hippo bar.

The country-house visits were a way to sell things. Or gift things. “I would go and see them and see something beautiful and just fall in love and ask permission. I was very polite. Maybe that’s the problem,” says Holzer, who got a fuzzy sheep that way. If you were particularly lucky, you got a piece customized while you visited. Claude had a series called Pomme Bouche, of an apple with a cast of a model’s mouth. Reed Krakoff and his wife, Delphine, sat for one. As did Marino, but with a more disastrous result. “She did all of the most famous women in Paris, London, and New York and said, ‘I’d love to do your lips,’” he says. “She put Vaseline on my lips with her spatula and hot wax. She said, ‘This is so awkward, but I’ve never done it with someone who has a beard.’ It took two hours of steaming water, and I had wax in my mustache for three weeks.” He thinks it’s the ugliest one she made; he still has it on his dining table.

hat they were doing was so different and so new because they used to sell directly to high-society families, which was totally out of the box," says de Gunzburg. The early col-

lectors were people with a great deal of cultural capital. They were tastemakers. Even if their worst detractors considered Les Lalanne mere decor collected by socialites, the support of famous people was helpful in their careers. “It helped legitimize their practice at a time when their work at the crossroads of sculpture and design could still seem unconventional. More importantly, it created a ripple effect: Seeing these works within such demanding collections naturally sparked the curiosity and interest of other collectors, enthusiasts, and institutions,” says Florent Jeanniard, the Paris-based chairman and co-worldwide head of design at Sotheby’s.

WRITERS LIKE TO USE WORDS LIKE MENAGERIES AND BEASTS TO DESCRIBE THE JUXTAPOSITIONS OF FAIRY TALE: A DESK IN THE FORM OF A RHINO, A BED IN THE SHAPE OF A BIRD, A SEAT IN THE SHAPE OF A CAMEL, A FORK IN THE SHAPE OF A GINKGO LEAF.

The couple certainly had their bona fide art-world champions. They were represented in Paris by the gallerist Alexander Iolas, who also worked with René Magritte, Max Ernst, and Andy Warhol. Iolas organized their first exhibition in the United States, at the Art Institute of Chicago, in 1967. In 1976 the Whitechapel Gallery in London raised their profile in the UK with a Les Lalanne show called “Domesticated Beasts & Other Creatures.”

Over in New York, Marino started collecting them in the mid-'80s, when he bought a set of alligator chairs for \$45,000. They may have been cheaper then, he noted, but “they were never inexpensive.” He thinks the key to the success of the artists is how easy it is to live with their work. “Alligator chairs are somewhat more aesthetic than a Duchamp urinal. I don’t have one of those in my living room, but I do have alligator chairs,” he says, adding, “I am kind of known for putting them on the map and their largest collector.”

Although many people credit themselves as the reason for the Lalannes' current moment, Marino was the only one brave enough to stake his reputation on the record. He does have pieces scattered around his home in Southampton, 35 inside and 20 outside, among them a set of cutlery and a frog fountain complete with lily pads. (For all their artistic prowess, Les Lalanne were not always focused on the details. Another piece came to New York with water pumps wired for French electricity.) Asking which is his favorite would be like asking to choose his favorite child, but since Marino has just one daughter, that's a much simpler question to answer. After some thinking, he decides his favorite is a piece he asked Claude to surprise him with one year, and she delivered him a bench made of bronze hydrangeas, inspired by his garden.

Toward the end of Claude's life, Marino called her every Sunday to talk about everything and nothing. His last commission for her was a staircase at Cheval Blanc hotel in Paris. François-Xavier died at home in Ury in 2008, and she died in Fontainebleau in 2019. In the years following her death in particular, there appears to be a contentious relationship between their daughters. One indication was that Dorothée Lalanne and Marie Lalanne consigned separate collections to be auctioned—Dorothée to Sotheby's in 2021 and 2022 and Christie's in 2024, and Marie to Christie's in 2022. One can imagine the burden of splitting up a valuable estate and the myriad decisions about how to run it posthumously, such as whether to license the name or make reproductions. Do they want to be focused on preservation, like Donald Judd's estate, or countless contemporary collaborations, like the Keith Haring estate? Holzer observed of the sisters that “until [both parents] died it was much friendlier between them. You know what money does to families.” Their own family do not disagree. “Money doesn't

buy happiness," says Julie Hamisky, Caroline's daughter and Claude's granddaughter, who became a bronze artist using the same techniques. "After [Claude] passed, it was a big shock and a mess for everybody and their relationships."

From the beginning of their artistic careers as Les Lalanne in the 1960s until about the end of

the 1990s, Lalanne was collected by a small but influential group of people, but by the mid-2000s the market for them became bigger and more global. One reason was two major New York City installations: a Park Avenue show that featured their work outside among skyscrapers, and “Sheep Station,”

an installation of cement sheep at a gas station in Chelsea. The 2009 Saint Laurent–Pierre Bergé auction set a new level of prices and notoriety. François-Xavier's large, animal-oriented work was historically fetching higher prices than Claude's, but the sale of the mirrors put their work at more or less equal value.

The current prices—is it an art-market bubble?—for Lalanne has created a situation where collectors are eager to prove they bought early on, to show they aren’t mere trend followers, and also that they didn’t overpay. Dasha Zhukova owns the polymorph cat from 1968, a fantastical feline-shaped sculpture with sides that open like wings. She’s had it for about 17 years. “I use it as a bar,” she says. “Everyone has a reaction to it. It definitely feels immersive, intellectual, and emotional at the same time. Collectors today don’t really separate art and design, especially younger collectors. They see them as part of the same cultural conversation, and Lalanne perfectly sits at that intersection, blurring the line between design and contemporary art.”

Lauren Santo Domingo owns a hippo bar cart and explains to people that hers was purchased in the mid-'90s. "We were not one of those people who paid an outrageous sum; the hippo has been a member of our family for many years. It's in every Christmas photo. The shipping probably cost more than the actual piece," says Santo Domingo. "It was acquired, if the lore is to be believed, by my mother-in-law and father-in-law, when they went to lunch at the Lalanne home in the countryside and drank a lot of white wine. At the end of the lovely lunch, it was customary to purchase something, and in this case it was a life-size hippo.” She recently posted a photo of it being used for caviar and cocktails. Her family also has a few Lalanne cement sheep in the garden.

The sheep (both cement for outside and woolly for inside) are probably the most recognizable and widely available pieces they made and have ranged in resale value from \$250,000 two decades ago to \$2.5 million for a pair in the de Gunzburg sale. Gunter Sachs had a flock of them in his living room at the Palace Hotel in St. Moritz. A Madison Avenue boutique has a dozen or so clearly fake ones (perhaps a more polite term is “inspired by”) in its window. Michael’s restaurant in midtown Manhattan had a real one in the bar area for years that was removed for cleaning a couple of years ago and has not been seen since.

The sheep became as ubiquitous as a Cartier Love bracelet. Or perhaps not common, but akin to the \$10,000 wavy fluorescent pink Ettore Sottsass Ultrafragola mirror that has now been knocked off so many times that it's almost embarrassing to have shelled out to buy one. Or imagine wiring a gallery hundreds of thousands, if not millions, for the wrong kind of Lalanne. One unapologetic snob with a master's degree in art saw a photo of a minor François-Xavier animal sculpture in a rich arriviste's home and sniffed that she should have known better, or at least been better advised. The collector should have bought a Claude piece, which conveys better taste, or a major work from François-Xavier, like a bar. An art adviser who doesn't like Lalanne or the type of person who is drawn to them said that their worst pieces

have no conceptual content. “They’re follies that look nice and polite in a room.” A longtime collector admitted, “A lot of it is not great, and some of it is kitschy.” He sighed and said, “It’s disappointing to have all these billionaires buy it to just buy it.” Another Lalanne owner had a family member tell her, “Giacometti is for the city and Lalanne is for the country” when she saw hers installed in her home. At one point when a few Lalanne pieces sold for a great deal of money, she considered selling hers, but her husband predicted it would just keep going up in value and said, “We’ll be the assholes who sold it.”

Maybe part of the frenzy might be chalked up to the idea that in times of uncertainty, people want to collect pieces that feel solid, both literally and figuratively. And the craftsmanship and sheer price of materials alone of the bronze that Lalanne used show time and value. But that line of thinking also leads to another. For the would-be tastemaker or future collector, there is only one question. "What is the next Lalanne? That's what everybody is trying to figure out," says Jodi Pollack of Sotheby's. "Their dream was to be accepted as not doing furniture but as artists. They would talk to me about that all the time," says Holzer. Les Lalanne have proven themselves in the market and the art world, at last, but Holzer still has a word of warning for future collectors of the woolly sheep, alligator chairs, hippo bar carts, and all other whimsical forms straight from the minds of François-Xavier and Claude: "People will sit on it whether you like it or not."

TO WARD OFF BAD LUCK.

WHERE THE WILD THINGS ARE Clockwise from top left: Peter Marino poses in Claude's studio in 2018; a Dior display in Paris circa 1961; sheep sculptures at an outdoor "gas station" exhibit; a Claude sketch; sheep at the Winter Garden at Ferrières, the Rothschilds' weekend home, photographed for Vogue in 1978. Opposite: François-Xavier's Grand Chat polymorphe, an animal with the body of a cat, tail of a fish, wings of a bird, and hooves of a bull.

PHOTOGRAPHER SEBASTIÁN FAENA

FLOW STATE

Since taking charge of the storied French fashion house in 2023, Chemena Kamali has brought the bohemian dream back to Chloé. JOSÉ CRIALES-UNZUETA joins the designer and her army of muses

hemena Kamali wears her long chocolate brown hair all the way down over her shoulders to the waistband of her blue jeans. And every time I've encountered

her, she's been beaming a smile. Kamali, who was born and raised in Germany, studied for her masters in London, and now resides in Paris as the creative director of Chloé, has the soft, melancholic presence of a Pre-Raphaelite muse. But at work, the designer is ferocity personified: a sharp, unwavering perfectionist.

Before we spoke for this story, Kamali inquired about the format—a written-through profile or a question-and-answer session—to better calibrate the flow of her responses. And for this picture, she wanted to determine how much jewelry should be visible. Then we needed to ensure that the

CHEMENA'S WOMEN

The evening following her show in Paris, Chemena Kamali and the women of Chloé sit for a portrait before dinner at Le Grand Café: Liya Kebede, Pat Cleveland, Dree Hemingway, Jessica Miller, Gia Coppola, Aimee Lou Wood, Julia Stegner, Tish Weinstock, and Alexa Chung.

Ethiopian supermodel and activist Liya Kebede and the British socialite Tish Weinstock did not pose too close together, as they were both in white lace. Kamali is so precise and so insistent that when Claudia Schiffer could not fly into Paris for the shoot, which also features model Pat Cleveland, actor Dree Hemingway, models Jessica Miller and Julia Stegner, filmmaker Gia Coppola, and perennial It girl Alexa Chung, Kamali moved heaven and earth—and arguably made one too many phone calls—to materialize the second portrait in this story. Despite her bohemian style—think Sienna Miller in a flouncy dress and suede boots or Mary-Kate and Ashley Olsen in peasant blouses and frilly maxi skirts—it had become too cerebral, an exegesis of French bohémien rather than the thing itself.

Kamali's debut runway show in February 2024 was received as if she had opened the curtains and let the light in. She made just-right silk tops and paired them with golden bijoux. It was a boho-chic fever dream with the kinds of clothes that are a trademark of what Chloé represented but were strangely no longer in its range. And critics raved:

inception. While her counterparts—Yves Saint Laurent or Pierre Balmain—were focused in haute couture, Aghion was the pioneer defining prêt-à-porter, those clothes now known as ready-to-wear that were a more realistic antidote to the constraints and pompousness of couture. “She was really someone who wanted to liberate women from that sort of rigidity,” Kamali says.

With the exception of Lagerfeld, Chloé has been defined by long tenures of women designers. Its story is an anomaly: Most luxury houses, even those founded by women, like Chanel and Schiaparelli, have

"IT SHOULD NOT BE BREAKING NEWS IF A WOMAN GETS A JOB," KAMALI SAYS. "AND IT SHOULD ALSO NOT BE CRITICIZED IF A MAN GETS THE JOB."

hippie airs, Kamali gets what she wants. Kamali sees Schiffer as the embodiment of continuity at Chloé: a fellow German whose modeling bona fides include serving not just as Kamali's muse, but also that of Karl Lagerfeld, another much-mythologized German who before reshaping Chanel transformed Chloé from the 1960s through the '80s, and again in the '90s, alongside its founder, Gaby Aghion. When she arrived in late 2023 at Chloé, a French fashion house built on free-spiritedness and some very good, very frilly dresses, Kamali was thrust into the spotlight from the unknown deputy of Anthony Vaccarello at Saint Laurent. She was tasked with reinvigorating a brand that had become an unsolved equation after a slew of unsuccessful stints from designers including Gabriela Hearst and Natacha Ramsay-Levi. Her appointment was somewhat expected: She started her career at Chloé as an intern for Phoebe Philo in the 2000s, then returned as design director for Clare Waight Keller in the 2010s. "My relationship to Chloé obviously is a very special one," Kamali says. "It's been quite close and very personal throughout my entire career."

Still, being a shoo-in did not guarantee success. Chloé had thrived under Philo and Stella McCartney before that. But it had lost its way. Once a destination for those susceptible to the charms of

The New York Times said Chloé had hit the jackpot in Kamali and lauded her revival of the Chloé Girl, one of the most enduring fashion archetypes and a branded cipher for the It girl—think Miller or Jane Birkin, who were both It girls and Chloé girls at their respective peaks. “Finally, a new voice for women,” read the headline of a review at The Cut, which celebrated Kamali’s confidence and said that, as debuts go, hers couldn’t have gone better.

"When I arrived, it was all about rerouting the house to its original founding spirit," Kamali says. "Going back to the original DNA to really bring back the idea of the sense of freedom, the free-spirited aura that the brand had, the fact that it feels effortless." But Chloé, she says, is more than a look. "It's almost like a state of mind, Chloé," Kamali says. "A lot of people out there were waiting to see the spirit, the vibe come back, this girl come back. Her radiance, her glow, her vitality."

Kamali's collections are now guided by this sense of ease. “It’s not an imposing brand,” Kamali says of Chloé. “There’s this freedom, and this freedom was always very important to me.” She sees the label as a versatile, malleable assortment of principles of dressing that a vast range of women should be able to wear. Clothes made to fit into their lives, not for them to fit their lives into.

This has made Chloé relevant since its historically been designed by men even to this day.

“It should not be breaking news if a woman gets a job,” Kamali says, “and it should also not be criticized if a man gets the job, it’s also unfair.” Two things can be true: The industry needs more women running these sorts of houses; and, in an industry as subjective as fashion, creativity and talent should be the reason someone is hired, not gender.

Women designers are often lauded for their pragmatism—it’s one of the fashion industry’s trappings and its biggest gender stereotype. “I think what makes us different is I think there’s a strong female energy,” Kamali says, “a female point of view, which makes it obviously very personal and very intuitive.” It’s why her collections are still standouts in the landscape of Paris Fashion Week each season. Rather than corsets and stiff tailoring or other concoctions that swaddle and contort the body, Kamali lets it breathe with perfectly adjusted volume and proportion. Her keenness for comfort does not make her clothes less elegant, but rather proposes an alternative, consistent point of view.

“A lot [of fashion] feels very forced, very strategized and merchandised and conceptualized and overly produced and trying to tick as many boxes as possible,” Kamali says. “Sometimes if you incorporate too many points of views, the message gets diluted.”

More than anything, Kamali wants to get at the spirit of Chloé, distilling its essence to its purest iteration. “People are informed. They are smart. The audience today is very much aware and connected,” Kamali says. “They want to understand what this brand stands for.”

Kamali was appointed at the same time as a handful of other lieutenants were taking the reins at various brands. Sabato De Sarno, formerly at Valentino, took on Gucci;

Adrian Appiolaza, formerly at Loewe, took on Moschino; Peter Hawkings, Tom Ford's protégé, took on his label. Two years later, Kamali is the last one standing from this quartet. Her spiritual approach might sound esoteric. But she's clearly cracked the code.

“Chloé is a very emotional brand,” Kamali says. “It triggers feeling, it triggers instant emotion.”

It's what makes women gravitate to her universe, something that became evident

Clockwise from top left: Sienna Miller in Chloé at the Cannes Film Festival in 2024; Kamali and Claudia Schiffer at the Chloé headquarters in Paris; Kamali and her son after her debut show in February 2024.

as Cleveland instructed the cohort at the portrait sitting on how to pose: “Dance, move!” she said as Hemingway jumped over a bench and Chung leaned forward to get closer to Weinstock and the lens. These women moved freely and, most importantly, comfortably. “I always say thank God for fashion, the real world is as rough as cement,” Cleveland told me in between shots. She then relaxed into her pose and held on to Kebede. They had entered the Chloé state of mind. VF

In the early aughts, everyone who was anyone was at Bungalow 8, the nightclub that transformed Chelsea and defined an era of New York City. DEREK C. BLASBERG talks to the designers, artists, moguls, and aspiring somebodies who packed in the banquettes to light up, get close, and shut it down

THE 8

PHOTOGRAPHER TODD EBERLE

The quick brown fox jumps over the lazy dog.

CLUB KIDS Clockwise from top right: Tracey Emin and John Waters; Grace Jones and Francesca Thyssen-Bornemisza; DJ Coleman Feltes. Opposite: "The greatest compliment I ever received was from Ian Schrager, who said it was the [Studio] 54 of our time," says Amy Sacco of Bungalow 8.

STYLE 2026 159 hen people speak about Bungalow 8, they're speaking about more than just a venue," coos Iman, the

model, entrepreneur, and widow of David Bowie. “They’re remembering a feeling. A moment in New York history that Amy helped create and define.”

That Amy is Amy Sacco, the nightclub impresario whose velvet-rope instincts defined Manhattan nightlife at the turn of the millennium. Sacco was born to a father who owned a moving company and a homemaker mom. Raised in Chatham, New Jersey, she arrived in New York in 1990. She hustled her way through the city's restaurant and hospitality world before launching the Chelsea hot spot Lot 61 in 1998, then Bungalow 8, which would become her masterpiece, in 2001.

"Amy was the den mother to so many of us knuckleheads who thought that Bungalow 8 was our personal watering hole," George Clooney declares in a missive sent from a summer holiday at his villa on Lake Como.

Bungalow (you knew not to say the number) was on gritty West 27th Street, between even grittier 10th and 11th avenues. This was before the High Line became a top tourist attraction, before blue-chip galleries and billion-dollar towers transformed the neighborhood. Inspired by an art show that was itself inspired by the iconic Beverly Hills Hotel, the club featured palm trees, polka-dot banquettes, murals of the hotel and pool, and a NO VACANCY sign outside that glowed perpetually into the night.

Everyone who was anyone pushed past the “8” handle on the front door. The Hilton sisters sharing a banquette with Sean Penn. Madonna sitting across the room from Wes Anderson. Janet Jackson learning to make a watermelon martini behind the bar. All the nepo babies before we had a term for them. And was that Bill Clinton? (Yep.) Fashion designers, movie stars, major artists, starving artists, socialites, skateboarders, pop stars, backup dancers, moguls, and aspiring somebodies all found themselves squeezed into the same room, united by a common goal: being at the white-hot epicenter of cool.

At its peak, to get in, everyone had to be in the good graces of Disco, the doorman, who was so enmeshed in the world of Bungalow that he met his wife at the club—and wed her there. (Sacco officiated and Lauryn Flynn, a club patron and, at the time, the global director for VIP relations at Calvin Klein, helped outfit him.) The DJs were like family to the patrons—one was literally named DJ Uncle Mike, and another, Coleman Feltes, sometimes found himself babysitting a wild child, Lindsay Lohan, who liked to come in and spin.

The club was live-action social media before social media existed. And just as addictive. Catherine Holstein, the founder and creative director of Khaite, remembers arriving as a young design student years before she became one of American fashion's most influential designers. She says she could go six nights a week. (Before she was Khaite Cate, she was Bungalow 8 Cate.) "You would see a wide range of New York's New York and know what was going on and who's who and what's what," she says.

"Now, going out feels consumption-generating," says Darryl Gibson, today a Miami-based hospitality consultant who was the general manager for Bungalow 8's first five years. "We were generating more than just money; we were generating culture."

In its lifetime, Bungalow would be compared to El Morocco, the Stork Club, Studio 54. Sacco joined a short, formidable list of women who didn’t simply run rooms but shaped society in them, like Régine, who is credited with introducing the first disco in Paris; Elaine Kaufman of the infamous Elaine’s restaurant on New York’s Second Avenue; and Nell Campbell of Nell’s, which had a sexy dance hall below its 14th Street eatery. The women knew exclusivity wasn’t about keeping people out—it was about letting the right people in.

“They say pets take the personality of their owners,” the actor Benicio Del Toro says. “I believe clubs take the personality of their owners as well.”

By 2009, Sacco had helped transform Chelsea, though her success contributed to the neighborhood's gentrification and, ultimately, to the end of Bungalow.

Twenty-five years after opening night, a new generation is wondering: What was it really like in there? How did people get in? Was it really that good? I tracked down some people who were there until the wee hours and asked them why this small club, which had only 10 tables and held a little more than a hundred people, continues to occupy such an outsize place in New York's collective imagination.

AMY SACCO I'm from Chatham, New Jersey, the last of eight children. Amy, my mom said, was short for amen. She was done. I always teased her. I said, "You finally got

LIVES OF THE PARTY Clockwise from top right: Graydon Carter and John Mellencamp; André Leon Talley and Yvonne Force Villareal; Tom Ford, John Currin, and Tracey Moffatt; Force Villareal; Zac Posen and Natalia Vodianova; Tilda Swinton and friend; Hope Atherton and Tatum O'Neal; Eugenio López Alonso and friend.

HAT TRICK Annie Leibovitz, who frequented Bungalow 8, photographed Amy Sacco and the author of this story, Derek C. Blasberg (reclining), alongside Keegan Singh, Paris Kain, Alexandra Richards, Brooke Geahan, and Amy Greenspon for Vogue, April 2005.

it right, so of course you were allowed to quit." I started coming to the city in the '80s. I used to work with [chef] David Bouley in my first job in New York at Bouley, the original, and then Vong and Lipstick Cafe. ERIC RIPERT, CHEF/CO-OWNER, LE BERNARDIN I've known Amy since 1990. She's going to claim she wasn't born yet! We were together at Bouley in Tribeca. I was the sous chef of David, and Amy was working in the offices. It was a big responsibility. Bouley was considered the best restaurant in New York at the time. She was fun, but she knew the responsibility she had, and when it was time to be serious, she could be.

JEAN-GEORGES VONGERICHTEN, CHEF I've known Amy since 1992, when she worked with us at Lipstick Cafe. She has an incredible presence. The moment she walks into a room, you know she's in charge.

SACCO Yvonne Force [Villareal] and I met while hostessing at Bouley. She used to be a painter, and she lived in the Bowery with a couple of other artists in this gigantic loft. I come in, a Jersey girl; this one is in Romeo Gigli and I'm in Ann Taylor. One day she's like, "I've always wanted to make money. Can you teach me how to make money?" I was good at saving. I worked overtime, I worked seven days a week, and I was thrilled to do it. I said sure. I go, "Can you teach me how to be cool? Can you help dress me and tell me about New York?"

RIPERT She had many qualities, even then. Especially then. She never showed pressure. Nightlife is tough. To be a woman in that environment and deal with everyone, dealing with staff—it must have been extremely stressful. But when the doors opened and people were coming, she looked like she had no stress at all.

SACCO [Force Villareal and I] used to go out once every couple of months to a hotel bar like The Royalton, The Ritz-Carlton, or the Four Seasons, buy a bottle of Champagne, and hope to meet our rich husbands. We didn't know that basically those bars were full of hookers. We would toast each other and say, “Whoever made it first helps the other.” And clink our glasses.

YVONNE FORCE VILLAREAL, ART CONSULTANT One of my clients was Laurance Rockefeller. I had a whole slew of clients, including a lot of financial people. They invited me to the Waldorf-Astoria and said, “Bring a friend.” I called Amy and said, “Come to the Waldorf. I want to introduce you to some people who may get behind your restaurant.” Probably about four or five of those individuals were early investors in Lot 61, and then continued to Bungalow 8.

Lot 61, Sacco's first nightclub, opened in 1998. After a space in Midtown fell through at the last minute, Force Villareal encouraged her to look in Chelsea. The neighborhood was a cultural wasteland at the time, but a crop of new gallery openings hinted at potential. The risk paid off.

FORCE VILLAREAL She's like, “Where should I do it?” I said Chelsea is the place. I said everybody always follows the art world. SACCO It used to be a garage. I had to do remediation and build it out from scratch. NADINE JOHNSON, PUBLICIST No one had anything in that area. It was not pretty. There were one or two bars. It was rough and tough. And not even safe, but no one cared because everyone got so trashed they forgot.

let's have Plum and Lucy's 30th at Lot." We just called it Lot. I remember being so excited when someone told me, "Kate Moss and John Galliano are here"—and we hadn't invited them. I thought, That's so cool that they just had to show up. I was like, We've made it!

SACCO Armani had a runway show at Cipriani on Wall Street. He had the after-party at Lot, and Robert Isabell did the decor. He was a monster. He ended up calling me a cunt. I was like, “This cunt is still the boss, so, sorry.” God rest his soul.

XUAN LY, BRAND MANAGER The most amazing night was when Mr. Armani booked a private event at Lot 61. [I was a server there] and I got to meet him, Mira Sorvino, and Sophia Loren, and I thought I was levitating.

SACCO The premise of Bungalow 8 came about because I was walking around Chelsea and saw the gallery that had Jeremy Blake's show, "Bungalow 8." It was all about the Beverly Hills Hotel, like a schematic redigitizing and reconfiguring of the bungalows.

FORCE VILLAREAL We were gallery hopping, and it was at Feigen gallery, and she was really inspired. She met Jeremy, who was such a cool, intelligent, gorgeous guy.

Blake took his own life in July 2007, a week after the suicide of his girlfriend, Theresa Duncan. His looping video installation, Chemical Sundown, was a fixture on the second floor of Bungalow 8 from the day it opened till the day it closed.

"IT WAS THE ERA OF A MOTOROLA FLIP PHONE," SAYS SARA MOONVES, "SO THERE WASN'T A FEAR OF ANYTHING BEING RECORDED."

At a picnic in the Hamptons, Sacco was introduced to the interior designer Diana Viñoly, who asked about her new club concept. Sacco went to her car to get the plans. Coincidentally, Diana was there with her husband, the award-winning architect Rafael Viñoly.

SACCO [Diana] says, “This will not do.” She’s like, “Rafael, get over here. You must do this.” I go, “I don’t have any money.” She’s like, “Rafael will do it for you.”

FORCE VILLAREAL We worked on trade. We gave all the artists just trade. Damien Hirst did the largest spot painting he ever painted, which he made in Rafael Viñoly's basement of his Tribeca studio. Rudolf Stingel did wall-to-wall carpet painting. Sean Landers did a large text painting. Jorge Pardo did these beautiful blown-glass pieces, and the private back room had a David Salle.

DARRYL GIBSON, HOSPITALITY CONSULTANT Lot felt like an art gallery that turned into a party every night.

SACCO The first night I opened, we were voted the number one bar in New York on the cover of Time Out. We hadn't even sold anything to the public! What I didn't know and I wasn't prepared for was a line of people down the entire block wanting to come in and eat and drink.

PLUM SYKES, AUTHOR I do remember me and [my sister] Lucy and Amy were like, "Okay,

SACCO For years after that, when anyone asked Armani what his favorite restaurant in New York was, he said Lot 61 because my chef made the pastas he had asked for, and he actually came to the tastings himself. We had De Niro, Scorsese, Kevin Costner, everybody.

MARK RONSON, DJ I would DJ so many nights at Lot 61. Many of my memories are a little blurry, but I can recall showing up so hungover—I partied a lot in the era—and saying to myself, How am I going to get through this gig? And then you’d see her coming toward the booth, all six foot one of her, and it was impossible not to be happy.

After three years at Lot 61, Sacco was ready to expand her empire. She opened Bungalow 8 in 2001 in a nearby former gallery space in Chelsea, hoping to create a more intimate kind of club.

SACCO Lot was on fire, but I wanted to expand. I lived across the street [on 27th Street], and I kept walking up and down. There was a gallery space, and it looked abandoned. I kept putting notes under the door. "If you're ever interested in leasing it, call me." And one day I got a call.

FORCE VILLAREAL Basically, it became an extension of her living room.

SACCO I'd never been to Los Angeles at the time, but I'd been watching Old Hollywood films with my mom since I was a little girl. I was fascinated by the Beverly Hills Hotel. In New York, we're all cliffhangers. We're living stacked on top of each other. I said, "Wow, what would it look like if you could have that bungalow experience in a city like New York?"

GIBSON Bungalow was like being outside at the pool at the Beverly Hills Hotel at night. On a night with a full moon, the space glowed; it was magic. There were the palm trees, which lived inside for so long. I live in Miami now, and it amazes me that we were able to keep those trees alive, with people smoking, sitting on them, dropping drinks. SACCO I put the skylight in to remind everyone it was time to go home when the sun came out. But people would just bring a pair of sunglasses. I ended up being the unofficial Sunglass Hut because I had a basket of what everyone forgot in the closet for those people who were there when the sun came up, finishing their bottles and their stories.

LY It had a [glass] rooftop, like a bungalow. There was an upstairs for the DJ booth, and you could look down at the room and see everyone.

DISCO, DOOR GUY The first time we drive down West 27th, there's CONTINUED ON PAGE 170

BY CANDLELIGHT Clockwise from top left: Fergie with David and Victoria Beckham; Sacco; Paris Hilton and Jason Shaw; André 3000 and George Clooney; Clooney's 47th birthday party at Bungalow 8 after the Met Gala; Dita Von Teese, Scarlett Johansson, and Christian Louboutin.

STYLE 2026 165

Newsom Affair

CONTINUED FROM PAGE 81 private. In the first, I resign—knowing that if I am to stay sober, I cannot return to City Hall. In the second, I end the affair.

What I didn't know until later was that my sister had also reached out to my boss. She called his cell and told him not to see me again. “She is unwell. She is getting help. Even if she reaches out to you, it is your responsibility to say no.” His response, she told me, was some version of “God bless, God bless....”

My family placed much of the blame on my boss and the conditions of the office. But it wasn't the affair that derailed me. It was my alcoholism. The affair just gave it somewhere to live.

When I return home from rehab nearly two months later, I try to resume life as a wife and mother. Meanwhile, Alex leaves each morning for City Hall—for the man I have betrayed him with, still unaware of what had happened between us.

Soon he is recruited to manage the mayor's reelection campaign. His hours stretch into strategy sessions and dinners that run past midnight. Brick by brick, he is building something.

For months, I say nothing. The silence settles into my body like a fever. Until one night I am no longer able to carry it.

CONFESSION— JANUARY 13, 2007

Alex is home in San Francisco with our son, handling bath and bedtime. I am at my parents' house in Napa. I sit downstairs on the living room couch in the dark, lit only by the glow of my phone.

I begin drafting an email, my thumbs moving quickly. I keep it plain: just sex—on and off for months—with the mayor. It ended before rehab. I'm sorry. I blame my alcoholism. I stare at the screen for a moment, then press send and turn off my phone.

In the morning, I drive straight back home. When I walk through the door, the house looks the same. Toys on the floor.

A bottle in the sink. But Alex is not the same. He is standing in the kitchen. His face is drained of color. He looks at me in a way I do not recognize.

His voice is careful, measured—one of the qualities I have always loved about him. Even in catastrophe, he remains unflappable. He says he needs a few weeks to think. Then he packs a bag and leaves.

I still wonder which was the greater offense: my infidelity or my failure to look him in the eye when I told him about it.

During that time, he requests a meeting with the mayor, who is still in Davos at the World Economic Forum. Word has already reached him in Switzerland that I might have confessed. All day, his number flashes across my phone.

The meeting is set for the day after his return from Europe. Alex makes the drive to City Hall, a drive he's made thousands of times. For years, he answered late-night calls from his boss, sacrificed weekends without hesitation. He wants to hear it directly—to look him in the eye one last time. There is no straight answer.

ABOVE THE FOLD—FEBRUARY 1, 2007

By morning, my face is above the fold in every local newspaper. SFGate: “Campaign manager resigns—confronts mayor, who is ‘in shock.’” The New York Times: “San Francisco Mayor Admits He Had Affair with Aide’s Wife.” Television stations run the story on a loop. The mayor holds a press conference live on TV. “Everything you’ve heard and read is true,” he says.

I watch from my parents' house in Napa. I sit on the pale green chenille couch, ashen and silent. My family moves around me, talking strategy. My father offers to get Cold Stone Creamery since I haven't eaten in two days. My mother scrolls through the readers' comments about me online. My brothers alternate between inappropriate jokes and threats of revenge.

My phone floods with calls and texts from reporters. I don't answer. I don't respond. I say nothing. I wait out the weeks until I can see Alex again. The headlines, the commentary—none of it matters. I think only about him.

BAD NEWS

It is a Sunday morning. I am having coffee with a friend at an outdoor café in Noe Valley. On the abandoned table next to us lies the San Francisco Chronicle, featuring a profile of the mayor's new girlfriend. My friend picks it up and begins reading aloud.

“I shouldn’t say this, but...if people did research into the scandal...the woman is the culprit.”

I have seen commentary about myself before—speculation, condemnation, the occasional defense. That is not new. What is new is his girlfriend entering the record—someone who came into his life after the affair.

The next morning, the same friend texts me a link to SFist. I click. I scroll. My heart begins to race, then everything slows. My mouth goes dry. She has more to say.

“I’m a total woman’s woman, girls girl.... What’s your definition of affair?... It was a few nothing incidents when she showed up passed out outside of his door.... She is bad news.”

I read the sentences twice. They do not change. Bad news. A few nothing incidents. A thin, hollow feeling opens in my chest.

A columnist from the San Francisco Examiner calls. I know him socially. He asks if I want to speak publicly. I thank him but decline. He says her framing makes it sound nonconsensual. It wasn't, I tell him. I was not coerced. I knew what I was doing.

MeToo is still more than a decade away, but the arguments are already forming. I hear every explanation. None absolves me. Yes, the drinking mattered. So did my arrogance—the belief that consequences were for other people.

I was not confused or naive. I was a grown woman who made choices that hurt someone I loved.

I am the culprit.

A REAL GIRL'S GIRL

Soon after, Kamala Harris calls. I know her from the Brown administration; she is now the district attorney. I tell her people are urging me to speak publicly. A publisher has offered an advance for a memoir. I am broke and unemployable.

She listens, then says simply: “I wouldn’t say anything right now, Ruby. Just pause. More time will give you better perspective.”

It turns out to be the best advice I receive. I am newly sober and still inside the wreckage—unable to make sense of anything, let alone speak clearly about it.

So I stay silent.

ALEX

I believe there is a possibility he will take me back; that somehow honesty will stabilize things. He will be furious, wounded, but we will absorb this and move forward. I am wrong.

Since my confession, Alex and I never sleep under the same roof again. Living with my drinking required constant effort from Alex: emergencies, quiet cover-ups, extra parenting. My confession changed the equation. Whatever hope he still carried about who I might become had to give way to who I had been.

Reading his emails to me from that time is the hardest part to revisit. Not because of what he says, but because I can see the result of my actions landing on the person I loved most. The distance between what I felt for him and what I did to him is difficult to hold.

In those messages, he is never cruel or vindictive. He is trying to understand how his life could be upended by the person he trusted most.

He tells me he can't sleep, that he lies awake trying to make sense of it. The damage, he says, isn't contained to our marriage. It moves outward into everything:

Still, the reckoning exposed what I had missed: Power does not need to coerce. It only needs to exist. The responsibility to hold the line belongs to the one who holds it. That didn't happen. But I didn't stumble into the space left open—I saw a possibility and went for it.

Both things are true: I am responsible for what I did. Power does not distribute consequences evenly.

PROTECTION— JANUARY 29, 2026

I wake to a voicemail from someone I know from my City Hall days, now an adviser to my former boss. “Hey Ruby! Blast from the past. Give me a call.”

Later, on my way to yoga, I pull over and call him back. After a few minutes of small talk, he gets to the point. “The governor’s memoir is coming out in a few weeks,” he says. “He wanted you to know—you appear in a few pages.”

I pause.

Resentment is a luxury I can't afford. Instead, I return to gratitude, not for the affair, not for the pain I caused Alex, but for the totality of what followed.

his work, his future, his financial situation, his sense of himself—the life he thought he was building.

In those first months, I cycle through apologies, long emotional explanations, attempts to reach him. Later, in recovery, I learn a different way to respond. Not with words but with restraint.

To leave him alone. To make his life easier where I can and not add to what I have already broken—even if that means never being let back into his life again.

The greatest cost was never public. It was what I did to a good man who deserved better than I gave him.

BOTH THINGS ARE TRUE

Eleven years later, #MeToo arrived with a new version of my story—one in which I was not the culprit but a powerless subordinate. I pushed back. Claiming responsibility felt like the last form of agency I had.

“Would you like me to read them to you? There’s nothing bad at all—nothing to worry about.”

“No thanks,” I say. Then I add, “Does he tell the truth?”

With a small, uncomfortable laugh, he says, “Well, we all remember things differently, don’t we, Ruby?”

For my former boss, it is a footnote in a longer arc of ascent. For me, it is the fracture that split my life into before and after.

When I read the pages a few days later, a familiar feeling returns, the one of being written about by someone who assumes I won't answer. He describes it as “the briefest of affairs.” His sister, he notes, observed that I was “hanging a bit too close.”

He also writes that he was the one who “came clean” to Alex. That detail—subtle but significant—is the one that stays with me. It reads—to me, at least—as a version of events that gives him credit for something I had already done. Technically defensible, perhaps, but one that leaves the unmistakable impression that he, not I, was the one who told Alex the truth.

But resentment is a luxury I can't afford. Instead, I return to gratitude, not for the affair, not for the pain I caused Alex, but for the totality of what followed. I required something catastrophic to change direction. Something that made the cost of going back—of drinking again—unthinkable.

The pain of what I did to Alex, and to myself, has stayed with me every day for two decades. I used to think that was punishment. Now I understand it as protection.

WHAT REMAINS

Today I am 20 years sober.

I traded City Hall galas for church basements. Stilettos for New Balances. I met Ryan and built a second marriage—one that has lasted longer than the first. His steadiness has changed my life. Together we’ve built the kind of family I wasn’t sure I’d ever have. We are raising our 11-year-old son together.

It took more than a decade for Alex to look me in the eye again. We co-parented without hostility, but he kept his distance. I focused on what I could: staying sober, showing up for our son, living differently.

Eventually, small openings appeared—iced teas at The Depot with our son, groceries dropped off during COVID, dinner for our son's birthday. When he got engaged to Heidi, a close friend of mine, the gatherings became more frequent.

Then last year, I was driving home one afternoon when he called. We slipped easily into conversation, laughing about something small involving our son. Then his tone shifted.

“I actually called for another reason,” he said. “Heidi and I want you and Ryan to come to our wedding in November.” The words hung there between us. After a moment, he filled the silence. “Ruby. We are family.”

And so we went.

My husband and I sat among the guests as people stood to toast the couple—Alex laughing, raising his glass. Then our son stood up, grown and composed, and gave the best man's speech. Ryan's arm tightened around me; I leaned into him. Alex caught my eye and smiled.

We lost the marriage. We didn't lose the ability to become another version of a family. The damage was mine. But so is the life rebuilt in its wake. VF

MAGA Style

CONTINUED FROM PAGE 70 Chiara Boni sheaths, Tuckernuck dresses, and Florsheim shoes—and turned them into curdled messages about gender, sexuality, and power. MAGA understands fashion. Not in the esoteric way that speaks to intellectuals and insiders. Not as an act of fabulousness. Or even as a matter of individual identity. No need to get bogged down in questions about provenance, artfulness, long-form storytelling, or even metaphors. MAGA keeps things simple in a complicated and confusing world. Girls wear pink. Boys wear blue. Everything else is noise.

This administration understands that the electorate to whom they're appealing is not reading the fine print. We live in a visual culture where we make instant decisions about people in a single glance, whether it's Trayvon Martin, the Black kid in a hoodie carrying a bag of Skittles who was killed because he looked suspicious, or Kyle Rittenhouse, the white kid wearing a backward baseball cap and toting a semiautomatic weapon who killed two unarmed people but was found not guilty by a jury. People see what they expect to see, what they need to see, in order to make sense of their world.

Hegseth obsesses over the physique of service members—or “warriors,” as he prefers to call them—suggesting that a soldier’s bravery and integrity are directly related to the size of his waist and the country’s dignity is measured by six-packs. He has transformed these men—and a dwindling number of women—into models for what he calls the Department of War. Their job is to strut and flex on the world stage. For Hegseth, nine tenths of victory is looking the part.

With his slicked-back hair and suit jackets cut so that his biceps bulge through the sleeves, Hegseth moves through his days like a comic book superhero, seemingly on the verge of popping his buttons at the first sign of threat or the first test of his authority. His rage stands as a measure of machismo, as if civility is for wimps. What does competence look like through his lens? It's not a brown-skinned woman hunched over a computer keyboard. It's a square-jawed warrior with a V-shaped physique looking like Captain America.

What does a woman who is deserving of the country's sympathy and respect look like? She does not look like Becca Good, whose partner, Renee Good, was shot and killed by ICE agents in Minneapolis. Federal officials initiated an investigation of Becca Good.

For this set, a woman deserving of empathy looks like Erika Kirk. I was struck by the sight of Kirk, in the aftermath of her husband Charlie's killing, leading a conversation with Nicki Minaj at the Turning Point USA conference. The rapper looked as though she were headed to church, whereas Kirk could have been headed to the front row of a fashion show. The former beauty queen with her blond Rapunzel locks was onstage wearing a bronze satin blouse and flowing white trousers. Pious femininity was being acted out with costumes, makeup, and abundant use of amen.

The women exalted in these spaces put their face on in the morning—as a woman from the 1950s might say. They slide into heels. They perform (white) femaleness for an audience that wants to be reassured that the social hierarchy as they’ve long defined it hasn’t been upset.

MAGA style is a tool for sorting us into categories. Those who deserve empathy versus those who should be investigated. Those who are heroic versus those who are expendable.

The Trump world has grabbed onto a part of the culture that was once the purview of women, queer folks, Black and brown people, artsy intellectuals, and creative iconoclasts. Fashion was a safe haven with its own special language—a place that had thankfully moved beyond bling, so-called nude heels that came in a single shade of beige, and the flimflammery of power dressing. It had become wondrously varied so that it was almost by default an expression of individuality.

MAGA has helped itself to the power of fashion and used it to realize a distorted version of a world from two generations ago, before progress was made not just on the runways but throughout American culture. Instead of using fashion to make folks feel more beautiful, more seen, or more empowered, MAGA is making us all meaner. Less enlightened. And a whole lot uglier. VF

Jordan Roth

CONTINUED FROM PAGE 87 “there was this over-the-top toast about the great artist Jordan Roth. I was like, Wait, Jordan is an artist now?”

At a recent party on Fifth Avenue, someone who only really knows Roth through his online presence remarks to me that he should pair up with Ryan Murphy. Fortuitously, two days later, Roth announced the premiere date of The Shards. In it, Roth will reveal yet another public transformation, playing Steven Reinhardt, a Hollywood fixer in Murphy's adaptation of the Bret Easton Ellis novel about teenagers in 1981 Los Angeles during a serial killer spree. Roth's character is a leering but strangely centered presence in leather outfits and a two-tone wig that the adolescent stars seem not to know if they should fear or feel reassured by.

Sarah Paulson, a mainstay in the court of Murphy whom Roth had known for years through Broadway, was the catalyst for his casting. “I asked, ‘Would you ever want to do acting?’ and he said, ‘Oh, yes.’ And I said, ‘What about something in the Ryan world?’” Roth was indeed already on Murphy’s radar. “Ryan presented [Steven] to me as more cutting edge and kind of an aesthetic force,” Roth says, seeing some of himself in the character.

“I was instantly taken by him,” Murphy says of Roth. “The interesting thing is he changes like the wind. It’s incredibly brave, sometimes shockingly emotional, what he does. He’s his own work of art.” Murphy is already at work writing the second season of the series.

“My plan was always to be an actor,” Roth tells me, adding he desires to continue for the long-term. “I’m never leaving. From the first take I felt, Uh oh. Here we go.” (Currently, Roth is exploring acting in a feature film about the photographer Robert Mapplethorpe and his older patron-of-the-arts boyfriend Sam Wagstaff. The Shards costar Homer Gere will play Mapplethorpe; Roth will play Wagstaff.)

Does Roth's ambition include a full-circle return to Broadway as an actor? Of course it does. Hewants to do “a deconstruction of an existing famous musical,” and he’s already talking to old colleagues about it. “I would love to see him do Steel Magnolias,” says Kaia Gerber, another The Shards costar.

The Shards will be yet another chance to collapse the line between real life and life onscreen, not to mention an opportunity to ruffle some feathers of the rigid cultural establishment in the process. But what happens if he ever drops the act?

At the core of all these publicly performative artistic endeavors is a common theme: ambiguity—of cultural genres, professional occupations, and he is most ambiguous when it comes to gender. It is the rare subject that Roth is willing to address directly.

“What I don’t love, and what I do pick up on in my body and heart, is discomfort. Those moments where it feels like where I am causing you confusion by my existence causes me discomfort.” Referring to the looks and double takes he gets when using a public restroom, he says, “If you have to ask, it means I have failed at making [myself] legible, and we have been led to believe that making ourselves legible to one another is our responsibility. I am coming to release that responsibility.” Roth’s progressive ethos of genderfluidity is a useful way to think about how many people feel about him: They just don’t know what to make of him, and they cannot look away. The gap between his sarcastic self and his performance of himself can be, for some, confounding.

What seems to gall most people I spoke to is his bombastic, overly serious, and entitled self-creation. He pins those negative reactions on his sexuality, his fluid gender, and their ignorance.

There is a symmetry between the way he approaches all of this—his gender, his art, and his life online—which is that there’s really no separation, and no way of perceiving, this man without his mask.

Roth already has everything money can buy, so the only real adventure left is in his constant transformation. Success for him is not whether he will be accepted as a true artist or actor. His sincerity, the fearlessness of trying—very hard and very publicly—is success in itself. He has spent his life delighting in proving his doubters wrong. And who is to say Tonys are the only awards he’ll ever get? What matters is that we’ve tuned in to the Jordan show. He thinks we should have been watching all along. VF

Lauren Sherman

CONTINUED FROM PAGE 77 Wintour did not read this article before publication.]

Her aggressive coverage may have attracted subscribers, but it's been complicated for the advertising side of the business. When Puck acquired Air Mail, the media company founded by former Vanity Fair editor Graydon Carter, the latter's luxury advertisers revolted. According to a source familiar with the merger, Air Mail received “a flood of concerned emails” from advertisers, including LVMH, threatening to pull their business. “All the luxury advertisers had huge the experience, no matter how messy it gets. In the middle of one particularly egregious correction, Sherman promoted Line Sheet's premium \$250-per-year "inner circle" subscription, noting that the offending newsletter was "available to top-tier subscribers only, mind you."

“I don’t think she does enough reparation when she is wrong,” says one fashion editor. “She gloats on the scoops, and she wants all the glory of reporting things first. But a lot of people wish they would suffer a little bit more when she gets it wrong.” Another editor who has been the subject of speculative coverage in Line Sheet says that’s shaped their view of Sherman’s work: “Because I’ve seen so many lazy inaccuracies, I now don’t trust the harder-hitting stuff.” That Sherman can be speculative and freely declares whom she believes will be right for what jobs has consequences beyond bruised egos. “It can hurt your career,” says a fashion journalist. “Because if someone like Lauren is happily publishing that you’re not right for a job, it might actually impact your ability to get that job.”

“She makes people nervous,” says Parisian PR chief Lucien Pagès. “Those who compete for scoops and also those who have something to hide. She can make me nervous!”

concerns with appearing, specifically in Lauren's newsletter," the source says. "She is great and deeply talented and very well sourced—obviously—but she's considered a brand safety risk for a lot of those luxury companies." The source points out that the Line Sheet dinners that Sherman hosts have struggled to attract luxury advertisers. Puck did not provide a list to Vanity Fair, but sponsors have included Starbucks, Saks Fifth Avenue, and American Express; Burberry and Rolex have advertised in Line Sheet.

The relentless pace of Line Sheet is forgiving for its author. When Sherman is wrong, well, on to the next column. Errors and whiffs are briskly airbrushed away by the unending march of content. “Lauren is never wrong in Lauren’s eyes,” says one fashion journalist. “You can tell that from how she writes her, quote, unquote, ‘corrections.’” For the Line Sheet reader, the sausage-making is part of

Sherman insists that she isn't so cutthroat. Or, at least, wasn't always. One day in March of last year, she addressed the speculation swirling around the industry that Demna, the artistic director of Balenciaga, would decamp to be the new head of Gucci. She dismissed the notion as “silly.” Sherman reminded readers of that reaction three days later in a column on the news that Demna would be the new head of Gucci. Sherman tells me now she found out in those intervening days about the appointment and could have reported the scoop. “The way I found out was very embarrassing for an executive,” she says. “They might have gotten fired if I had run it.” Because of sympathy for the executive and a (currently healthy) professional relationship with Kering, the parent company of Gucci, she decided not to publish.

She pauses to think. "If I could go back," she says, "I would have run it." VF

Bungalow 8

CONTINUED FROM PAGE 164 nothing down there. It was a dark street. I was like, “Yo, where?”—excuse my language—“Where the fuck am I?” Then you saw the NO VACANCY sign and that big light.

FORCE VILLAREAL It was a pretty small space, with polka-dot booths and striped booths, and it was just such a heightened sensibility in there. No matter how tired you might be when you walk in, you are wide awake and ready to connect with people.

BENICIO DEL TORO, ACTOR And don't forget the people-watching—it was the best show in town.

SACCO I felt like people really wanted a more intimate space at that time. Don't forget, back then everything was big. Lotus was big. Pink Elephant was big. Cain was big. And you had Marquee. Limelight! And I said, "Well, let's give someone a little more privacy to be themselves, to be able to let their hair down."

It was a little slow in the beginning because I had made the mistake of giving out [key] cards. The key was basically an invitation. It was a real room key. And if you showed it at the door, we had the list, and they were numbered so we could identify the member. It was like the first New York members club. SYKES It was members-only without a membership fee.

COLEMAN FELTES, DJ She was inspired by what was happening in London, but that's such an old culture there. The whole membership thing here hadn't taken off yet. I think what she ended up doing was dropping that and then just having a supertight door, and it changed. She didn't care about making money. She knew the first six months, maybe a year, that she was going to do a slow burn, and she'd build this concept—and she wasn't selling out.

Not long after Bungalow 8 opened, the World Trade Center was attacked. For a time, New York nightlife was a desert. Sacco covered everyone's salaries out of her savings. An infamous Sex and the City episode in which Sarah Jessica Parker's Carrie Bradshaw goes to the club after finding out a friend has a key contributed to getting people back out.

GIBSON When we opened, there was a really strict door policy, so some people didn't even try to come. Then the Sex and the City episode aired. The weekend after that episode aired, the door was insane. So many people came out of nowhere! That was an exciting night for me—we stuck it out, we thought people weren't coming, and then all of a sudden, people got it. It never let up from there. After 1 a.m., like clockwork, the door would go crazy, and we made all of our money in the next three hours.

DEL TORO It always evolved into something otherworldly after midnight.

SACCO Sex and the City contributed to a lot of mythology but also contributed to, I think, the beginning of the slow decline, because the masses knew about it.... I love Darren [Star], by the way. I clearly remember that when I went to see the shooting...it was only men. I'm like, That's not representative of what this club is. I got on the phone, and I started calling everyone that was beautiful that I knew to get their asses down for free drinks and be in Sex and the City.

SYKES I didn't watch Sex and the City because I was too busy living it. We had this narrative at the time that we're all in the movie called The Last Days of Disco, and we're living that every night at Bungalow 8. My sister and I and all our English friends would go on a Friday night at whatever time it was, 11 o'clock, and we would stay until five in the morning. I don't know what we were doing. I didn't take any drugs because I don't take drugs, but it was so much fun that every Friday night I'd stay till five in the morning, drinking a couple of kamikazes. LAUREN TABACH-BANK, ENTERTAINMENT DIRECTOR, INTERVIEW MAGAZINE There was a group of girls who were all assistants, associates at Condé Nast, mostly working in fashion and entertainment. We'd go to dinner at Pastis around eight, the original Pastis on Little West 12th. And then we'd head over to Bungalow 8 and stay till very late. If you were feeling really naughty, you'd go to Florent and end the night with a cheese-burger. Then you would be back at your desk at 8:30 the next day, dressed to the nines and maybe a little hungover—but you'd show up.

SARA MOONVES, EDITOR IN CHIEF, W MAGAZINE I moved to New York in 2003 to go to NYU, and very inappropriately, Bungalow 8 became our clubhouse. I was like, I can't believe this place actually exists. It has so much status symbolism, like where you were sitting, which booth you were in, whether you got in, and all those things. The music and the dancing and the lighting and the crowd, it was like a fever dream.

FELTES [Amy] was into disco, soul, hip-hop, funk, and remixes, mash-ups. She had great taste, but we weren't like the club that played house music and European stuff. It was very, very American, and that was Amy. TABACH-BANK When people say “dancing on tables,” it’s kind of a jokey term. But that actually happened.

STING, MUSICIAN I was on tour with The Police [in 2007] when we played Madison Square Garden, and it was Halloween. For the performance, I wore a Harlequin's outfit with a superhero's mask. I had tights, a codpiece, a sort of motley jacket, and a mask. We just went straight to the club from the stage.

TRUDIE STYLER, FILMMAKER/ACTIVIST I sat through that show at the Garden, in my Catwoman outfit, including the mask. I remember dripping with sweat through The Police show and then arriving at Bungalow 8, which was, thank God, very nicely air-conditioned. At some point in the evening, I remember the Catwoman in me overtook, and I jumped up on one of those famous plant pots.

MOONVES I remember sitting in booths, and people were hanging off the palm trees, and it was just insane. It was pre-social media, so you weren't looking over your shoulder to see if someone was recording you or taking pictures of you. It was the era of a Motorola flip phone, so there wasn't a fear of anything being recorded.

RONSON I just remember standing in the middle of the room, and that amazing lighting where it was just dark enough. You could never really get in trouble there because no one could really see what you were doing. You could see enough to put one foot in front of the other, but no one could see what you got up to. Most of the nights I was walking in, like 1:45 or 2 a.m., coming off another gig, and it was electric. LAURYN FLYNN, STYLIST/DESIGNER It became a private villa, a private sanctuary, if you will. That's why I refer to it as a speakeasy, because she doesn't check your phone at the door, but if you fucking take your camera out, you'd be banned for life.

SACCO [I remember] Lindsay [Lohan] and Cyndi Lauper doing competing handstands against the wall one night. I think Cyndi won. Demi [Moore] was there on one of her first dates with Ashton [Kutcher]. They came to Sunday bingo night. My friend Erickson Wilcox, who was one of my waiters from Lot 61, came over and called out bingo. If you called out a false bingo, you had to hold onto the palm tree and get the paddle on your fanny. I swear there were plenty of people who did that on purpose.

SYKES You could pop in from Hollywood, if you're an actor, and feel like "I'm really in New York."

CATHERINE HOLSTEIN, FOUNDER/CREATIVE DIRECTOR, KHAITE Also, you could smoke back then, which gave everyone something to do with their hands while they talked, and they didn't need to clutch phones with dear life out of awkwardness. What did Fran Lebowitz say to Mike Bloomberg when he banned smoking in 2003? What do you call artists sitting in bars talking, drinking, smoking? It's called the history of art.

MOONVES I remember getting in and taking off my shoes and doing a cartwheel down the center aisle of Bungalow 8 and politely being asked to leave. That was the only time I was asked to leave, and I was welcomed back.

GIBSON You would have A-list celebrities, heiresses, duchesses and dukes—upper-crust society. And then you’d have people who meant a lot to the streets of New York—street kids from Brooklyn, artists who didn’t have a dollar to spend but their currency was something else.

SYKES She got people like Jay McInerney and.... Oh God, what was that woman called? Paul Auster's wife—Siri Hustvedt. Those kinds of people would show up: cool, fashionable, literary types. Because movie stars don't want to hang out with movie stars, do they?

IMAN, MODEL/ENTREPRENEUR Before people knew about curating—you know, that cultural buzzword—Amy understood that magic, that the room comes from the people in it.

SACCO Annie [Leibovitz] was amazing. She used to come for five o'clock cocktails at two o'clock, or whenever they finished a shoot. I would just open up the room for her and call a bartender in early. Duh! She's one of the greatest artists of our time. Her partner Susan Sontag was around. Can you imagine? So you have Susan Sontag, and you have Salman Rushdie, and yet at the same time you had Kylie Minogue, and then you'd have Kid Rock, and then you'd have Shaun White and then you'd have, what's the guy that used to...the Allen guy, that died, the big rich guy. With the yacht? Paul Allen.

MOONVES It was the first place I ever went that had this combination of older and young people all together. I think that she liked that, because why else was she letting us in when she had age-appropriate people who were really cool? It's not like she needed us for any reason other than that we were young and, I guess, glamorous.

DEL TORO Inclusion was also a part of the magic. The old and young, people of all ages and walks of life, mixing together to create the Bungalow 8 fabric. The music and its range—mash-ups like [Terror Squad's] “Lean Back” into “Eminence Front” by the Who.

FELTES It was an incredible balance of really successful artists and nobodies.

SACCO It was never meant to be snobbish or for celebrities only. It was just small, so I had to control the door. I knew that.

THE VELVET ROPE
Disco, the door guy, with George Wayne, the longtime Vanity Fair writer.

The whole goal was a little more elevated in conversation.

HOLSTEIN Once you were in it, it was a party, because everyone was deemed interesting and fun and special. Also, I remember—it was Todd the DJ—that started playing grunge rock toward the end of the night: Nirvana, Pearl Jam, Radiohead, and some Tom Petty. The wind-down was good. It always started with Michael Jackson to get people going. And always ended with something that you cut your inner thigh to. SACCO Everyone knew Uncle Mike [the DJ], and everybody would go up and hang with Uncle Mike to the point where I had to get him a T-shirt that said “Uncle Mike is not a toy,” because Paris and Lindsay and all the girls that were DJs back then would love to go play and pick vinyl out with Uncle Mike.

FELTES I had a night where Lindsay Lohan came in, and she came into the booth, and she was absolutely blitzed, and she wanted to DJ. I didn't have too many people coming behind the booth because, in order to get to the booth, you had to go through this back door. Most people didn't know about it, and no one would jump over. But I do remember Lindsay literally coming and saying, "I want on. I want to play." Amy looked at me and just said, "Cut, cut."

IMAN I always say, good taste sometimes is boring. You need a little bit of trash. Most celebrities don't want to be protected, especially if they come and they know that Amy will protect them.

DISCO Celebs are just like us. They just have a better job. They are just like us. They cry like us. They get mad like us. They're happy like us. They do the same thing we do. They're normal people.

SACCO If you came with people I did not like that were disrespectful or not fun or just, like, showing up with 20 guys.... It was okay if you told me and they're all hot, but I needed to know in advance because I would've balanced it by taking fewer guys on the earlier side, knowing I had 20 people coming in from a hot soccer team or the Rangers were coming.

FLYNN I had a bunch of skaters crashing at my house, and they wanted to go to Bungalow. I didn't ask Amy, which was a very frightening thing to do, so I took the chance. We all skateboarded there, and she loved it. I mean, it could have gone either way. She could have chopped my head off and banned me for life. But she said, "Make sure that the skateboards are lined up nicely by the door."

DISCO Well-dressed. You know what the problem is? You get in any club if you approach the front door like you got common damn sense.

SACCO We used to have people in ball gowns and drag queens, and then you'd have a skateboarder, but they were actual Olympic skateboarders, so it didn't matter. Or they were young artists like Dash Snow. So nobody gave a shit if they were there in a T-shirt and jeans because they rocked it. DISCO Some guy told the whole door, "I will buy you, sell you, buy you back, and sell you again." He didn't get in. One celeb told the door, "Y'all are door people. Your job is to get verbally abused." The shit that came out these people's mouths, you would just sit and look at them like, wow.

SACCO You can have the billionaires with all that, you can have the models, but you needed to have the drag queens, and you needed to have the surfer boys and the artists and the authors. I wanted musicians. I didn't want a room full of the same people.

STING Anybody who was in town, either a musician or an actor, would end up at Bungalow 8. So, you'd see everybody who was coming through town. There were an amazing, eclectic group of people.

DISCO Then you have what I would call the TFBs. TFBs are trust fund babies.

TABACH-BANK She didn't want any lookie-loos. She didn't want people asking for autographs. There was no VIP room, there was no private area. It was like kind of no man's land, and really fancy girls would stand there shivering on the streets in February, just desperate to get in. That's the kind of energy that it created.

SACCO I remember a night where everyone's like, “Lady Gaga’s here. Lady Gaga’s here.” And I’m like, “Well, I haven’t seen her.” And I was sitting next to her for two hours because she was just—what’s her real name? Stefani! David LaChapelle and his friend Stefani were there, and I was talking to Stefani. Couldn’t have been nicer.

GIBSON Janet Jackson! She was working on a movie, and one of the waitresses was in acting school with her. Janet asked if she could come in and learn how to be a bartender. Fifteen minutes before we opened to the public, she came in, and we taught her how to make a watermelon martini. She was a good student.

SACCO Paris and Nicky [Hilton]. That whole crew back then: Casey [Johnson], Rashida Jones, and Lionel Richie's daughter, Nicole Richie. That was before they started the reality shows. And then because of those kids and Lot and the artists that I worked with, we had the Wenners and the Snows and the Schnabel crew—Lola and Stella, Vito. My God! That crew would be there, and then Dad might be on the other side of the room. You'd have Drena De Niro and Robert De Niro not knowing that the other one was going to be there. FELTES It was Naomi Campbell, Bono. All of them were there, and some of them would close the night at 6 a.m.

GIBSON Amy was so devoted. She rarely missed a night. She needed to be reminded to take care of herself. There were definitely nights when someone would say, “Stay home tonight, you need to rest.”

SACCO I hadn't had a day off in 30 days, and I was exhausted, and my staff's like, "Go ahead, we got this." Then I got a phone call: "Amy, George Clooney's here." I'd just gotten out of the steam shower and the jacuzzi, and I had a green clay face mask on my face.

I'm like, “Don't fuck with me. Why would he come here? I don't know him. That's stupid.” But I go, “All right, I'm going to get dressed and come over there, and if he's not there, I'm going to fire your ass.” I showed up in my sweatpants, and I still had some of the mask on my ear—George said, “Oh, you got a little something on your ear there.” Then I see Rande Gerber, and they ask me to sit with them, and they bought a bottle. I'm like, “Let me buy you a drink.” They're like, “No, let's buy you a drink.” It's funny [now] because I was more interested in Rande Gerber—I wanted to pick his brain. I was like, “Oh my God, Rande Gerber, Rande Gerber.” George was like, “Okay, that's a first.”

JOHNSON A guy shows up at Bungalow when Bungalow was on fire. Disco asks Amy to come out to see if she knows him. I ask her: "What did you tell him?" She responds: "I just gave him two quarters because he keeps saying 50 cents." It was the rapper 50 Cent. Not sure if he got in or not.

LY I waited on Prince, and he came in just before closing—high heels, the total look—and he ordered a glass of red wine, and he asked for a straw. He didn’t want to get his teeth red. No one ever asked for that, but you’re Prince, so okay!

SAM ROCKWELL, ACTOR One night I ended up in Bungalow 8 with Chris Messina, Hamish Linklater, and the great Mikhail Baryshnikov.

SACCO Madonna came a few times, but we wouldn't dare just sit down with Madonna. You had to be introduced, and you had to go through asking 35 people, so it never happened.

IMAN [I invited Grace Jones to come with me to Bungalow.] Grace and Amy met that night, and at 3:30 a.m. I'm saying, "Okay, I've got to go home." And Grace was like, "How dare you leave me?" The next thing, she said, "Go away. Amy's my best friend now." The next day, Amy called me and said, "You won't believe it. We were there till four, and then I had to close the club, and she stayed with me, and then we leave the club, and the police saw Grace—of course, they immediately shouted, 'Hey, Grace!'" They escorted her to her apartment!

Sacco herself was the draw. She retained the power in the room by making everyone who came—including the people who worked there—feel like a tribe.

RONSON She's one of the only people in all of nightclub culture who no one has something bad to say about. That's rare.

GEORGE CLOONEY, ACTOR She's tall and beautiful and smart and could drink us all under the table. Which is saying something in those days.

SYKES She was the sort of Svengali puppet master and always putting people together, always introducing people, which was amazing.

DEL TORO Watch Casablanca. Humphrey Bogart at Rick's Café—that's Amy Sacco at Bungalow 8.

FORCE VILLAREAL Amy was also a babysitter. I remember all of these young girls coming in, Lindsay Lohan, Paris Hilton—it was like Auntie Amy.

TABACH-BANK If there was a creepy guy there, she'd be thrilled to kick them out. She really looked after the women in there.

IMAN I wish my daughter could have experienced Bungalow if it were still around, because it would be a place where I know she would be taken care of and feel safe as a girl.

STING The club was meant to be exclusive, but it felt inclusive. Maybe that was just her personality. We always felt at home there. That's where we would go after a gig.

TABACH-BANK It felt like the most New York version of Cheers.

GIBSON There was so much creativity in the room at that time. Not just the people who were coming there—the most important people in music, fashion, art, publishing. You also had wildly creative employees who were dancers and singers and artists themselves.

DEL TORO The energy of the room! It all started with the employees who were—or seemed to be—just as happy to be there as their guests.

SACCO Disco got married there. He met his wife, Natalie, at the door, fell in love, and I did their wedding there.

DISCO We had a guy who used to work with us, Matthew, a designer. Once he heard I was getting married, he said, “Disco, I’m going to do the rest.” And it was beautiful. The whole family took care of me—voilà.

FLYNN I did dress him, which was not easy because he's not a slim fella.

TABACH-BANK I had my 30th birthday there, and my father flew in for it. And Amy said in her husky voice, “He’s great-looking. I’m going to be your next stepmother.” I remember her coming over to my dad and just charming him. She did not become my stepmother, and nothing happened with her and my father, but she just had this charm and this larger-than-life personality. IMAN My husband would hear the phone ringing when I came home; he’d know that Amy was the one on the phone, saying,

"Are you home?"

SACCO I actually had no personal life; I didn't have time to date. I think the rumors of me with celebrities are very funny because I was friends with quite a few people, but I never dated them. I never dated Benicio Del Toro. He's just one of the greatest people I know. We hung out all the time. Same thing with George [Clooney], same thing with Kevin Costner, same thing with Liam Neeson. We were just all friends. I'd rather have them around forever than have a relationship with anyone that was going to taint the future if it didn't work out.

FLYNN The Met Ball for me was always the most exhausting. I had to walk those stairs a hundred times. But I brought everyone [to Bungalow afterward]. I would change into my Led Zeppelin T-shirt and battered-up biker boots. Kate Bosworth, Lindsay, Eva [Mendes], Liv [Tyler], Mary-Kate and Ashley [Olsen]. And they would all say, "Will you please switch outfits with me? I'm dying." I would put their ball gown on, give them my outfit, wear their four-inch heels back to [my apartment on] Horatio Street to change, and come back in my own clothes. The last time I went—my eighth trip back—I brought all my sunglasses back, and yeah, we needed them.

After the Met Gala in 2008, attendees headed down to Bungalow 8 for Clooney's birthday party. For many, this was the best night in the club's history.

DISCO I remember one party—I don’t know who it was for, but I walked in, and I don’t know how she did it, but she had a baby grand piano inside Bungalow. And I sat there like, “What the fuck?” And if I’m not mistaken, John Mayer and Fergie were singing happy birthday.

SACCO John Mayer sang, that I know. I don't think we had a baby grand piano. Everybody was famous, super famous. I was the one who got the FDNY to come and bring in the cake [with 47 candles] as a joke.

WANDA McDANIEL, FORMER ENTERTAINMENT PR CHIEF, GIORGIO ARMANI Best line of the night was when the reluctant birthday boy George Clooney leaned over to me and wryly asked, "Hey, Wanda. Why is Mick Jagger at my birthday party?"

MOONVES It felt like something that could only happen there. Again, God knows how we got in—a few of the assistants, after working at the Met in our Met outfits, went and crashed the Bungalow 8 after-party.

Sacco's success inspired a number of competitors in the nightlife scene. BED opened on the very same block in 2004, followed by more, including Pink Elephant. Marquee opened on the corner of 10th Avenue and 27th Street. A growing police presence made the area difficult to manage and unpleasant to navigate. It was in this climate of chaos and oversaturation that the onetime hot spot began to cool.

SACCO They found a dead girl in a trash bin who had been partying [around there]. 27th Street started to become a zoo. It was like all these animals out of control, walking on top of cars because the streets were too busy, urinating, garbage, fights, stealing. It was a horrible, horrible time.

DISCO You had, like, 12 clubs, and it's like a three- or four-block radius. They had the metal gates on each side of the street. You couldn't cross.

SACCO Everybody wanted a piece of that area, which brings me to the regret that I was never able to buy from those people, that space, because if I'd bought it, we'd probably still be.... Who knows? Maybe we'd still have it, or I would have developed it differently.

MOONVES It's so funny googling Bungalow 8 now, and you only see it with the lights on, and it's like, that wasn't it. That wasn't it at all.

TABACH-BANK It looked fabulous in the evening, and sometimes by the late, late hours, as it cleared up, you're like, Oh, it's really just a room.

In 2009, Bungalow 8 shuttered for good, ending an epic run.

SACCO Nightclubs used to not be long-term, don't forget. They used to be two years, three years.

DISCO Most nightlife spots in New York, four years tops.

SACCO It was 2010 when the lease came up. I wanted to renovate, and we were renegotiating, and they just came up with the most outrageous rent. I said fuck it, I'm not even coming back. I was relieved, but I was bummed. It was bittersweet as anything.

STING I would imagine that the job that Amy was doing every night, up until the early hours of the morning, would have been absolutely exhausting. And I would imagine at some point she would have to say, “Well, I can’t do this anymore.”

FELTES The success of Amy's place brought in all these other people who were like, “Well, if she’s doing that, then we’re going to open our place.” But that’s like everything. A good thing doesn’t last.

JOHNSON Guys were begging her to open in

Vegas. She needed to have a business person. She could have been successful forever. She could have taken over the world. Bungalow 8 around the world.

SACCO I laugh now when [a club] puts a sticker over my phone because—here's the point—we never invited jerks that would [take a picture of someone].

DEL TORO You could walk in all by yourself and not feel like a stranger. [There was an] intentional curation of patrons. An ecosystem where people from all ages, races, and walks of life came together. I don't know of a place that creates that “sancocho” in New York anymore.

HOLSTEIN The crazy demand that we don't smoke anymore has ruined the art of the conversation. And this is coming from, essentially, a nonsmoker. I think we need to revolt. And also ban phones. [Which I say] as I sit on my phone. Alone. While my husband enjoys his dinner.

FLYNN I want to say this: It was a graceful exit. SYKES I saw her in London a couple of years ago, and she's exactly the same. I don't know what she's doing now, though.

SACCO I left it behind, and I never looked back.

IMAN We see each other every couple of weeks for dinner.... She's talking to half of the restaurant, and she doesn't know them. Everybody opens up to her.

FORCE VILLAREAL There's such a great interest now in what life was like before the craze of social media and now AI. I would love to see a 21st-century version of Bungalow 8 emerge from all of this.

JOHNSON Amy can do anything she wants. But the world has changed. The world happens on social media now.

RIPERT One night, I remember she invited her mother to show her [the club]. She was so proud to show her family and her friends what she created. We were so happy for her. She was such a good soul; we wanted her to succeed—but we didn’t see this coming. We didn’t think she’d become a celebrity in New York—not of nightlife, of New York.

SACCO I spent the last five and a half years nursing and caring for my mom. She passed in December. I didn’t post anything on Instagram because we did a private family thing. We got her to 96 [years old], and I kept her at home, as she wished. And I was so glad to not have to work for the first time in my life. It was a beautiful thing to be able to have that time.

DISCO I was telling my wife the other day, I'm at a venue now, and when I'm about to go to work, I'm not happy. At Bungalow, I was overjoyed. I wanted to get there. VF

Marc Jacobs

CONTINUED FROM PAGE 137 Whether it's what my drug of choice was or how many guys I saw in one night in Grindr, I don't really care."

He admits there is a payoff to his candor. "I get a good feeling about being honest."

In 2019, Jacobs married former model Char Defrancesco, who has seemingly brought a sense of stillness—of harmony—to Jacobs’s life. The Frank Lloyd Wright house they share together is about an hour from midtown Manhattan. “If you’d asked me 10 years ago whether Marc would ever want to live outside the city, I would have said there was no chance,” Defrancesco says. “But now I can’t get him to leave. Home in Rye has become a real sanctuary for him. He loves the quiet, he loves being surrounded by nature, and he’s somehow become completely devoted to feeding the squirrels and chipmunks. I’m pretty sure we’re personally responsible for the recent boom in the chipmunk population in Westchester [County].”

Jacobs been talking to his therapist, he tells me at one point. He’s been thinking about his trajectory and his successes, like grunge, and how magical moments can happen when people are connected to culture and, he says, “in sync.” Charli xcx put him on the cover of her new album, Music, Fashion, Film, alongside musician John Cale and filmmaker Martin Scorsese. She had DM’d him to ask for his participation. “I love her as a person and I love her as an artist,” Jacobs says—like himself, Charli is the type of mind that can capture the moment, the sync-up.

Jacobs's relationship to culture is like a mirror; he gives as much as receives. He goes to the theater often and attends film and television premieres, wanders art galleries, and documents his every read at home in Rye on Instagram. In whatever medium, he has a way of engaging the artists of his time.

“Once that moment is over, it doesn’t mean [artists] can’t put out great work,” he says, speaking broadly but seemingly referring to himself now. “It doesn’t mean they can’t do interesting things. It doesn’t mean what they’re saying won’t be relevant. It’s just that there’s just that really sweet spot.”

Vuitton, for Jacobs, was that. His appointment there was part of a growing trend of European houses hiring American designers—most notably Michael Kors at Celine and Narciso Rodriguez at Loewe, both of whom Jacobs outlasted on the continent.

His eventual exit from Vuitton in 2013 signaled a big bet on his namesake brand, that just maybe it could be even bigger than Louis Vuitton. “He was supposed to be the next Ralph, Calvin, Donna,” says Vanessa Friedman, fashion critic and fashion director at The New York Times. “He was the great hope of American fashion.” But it never truly came to pass.

The luxury industry rewards brilliant designers by handing them the most venerated houses, but those designers wind up in a sort of gilded cage, unable to devote enough creative energy to the very thing that made them stars in the first place—their own brands. Jacobs, like other designers who were employed by LVMH but still operated their own labels—Alexander McQueen and John Galliano, to name two—was caught in the tension of that arrangement.

Another thorn was his diffusion line, Marc by Marc Jacobs. It was a hit and a fan favorite. “When Marc by Marc existed, it had the spirit of what we all came to know as the Marc Jacobs spirit,” says Jacobs. But it morphed into something he didn’t recognize because department store merchandisers had their way with it, Jacobs says. Marc by Marc was folded into the brand’s main line in 2015. “So that kind of was its sad end," he says, "and since then we have continued to do bags and clothes at a price that's more democratic, but we've really struggled with making that thing feel right." (Duffy stepped down from his role at Marc Jacobs that same year. Today, he is no longer involved in the company. Duffy did not reply to a request for comment for this story.)

Goldfarb told me that he is intent on relaunching Marc by Marc Jacobs. “We see that as essential,” he says. He’s revealing a lot about a deal that likely won’t close until after this story is out in the world, and he catches himself. “I think you’re learning a little bit more than even my own people know at this point. I’m basically giving you stuff that is not carved in stone.”

What Goldfarb wants seems clear enough, but what does Marc Jacobs want? You wouldn't necessarily get an answer from his ever-changing image. He's been a bookish, chubby boy-wonder fashion design student and graduated into a long-haired, edgy New York 20-something twink. He's done nerdy and coy, clad in glasses and, once, a neck brace, the result of a dog-walking incident. He's been buff and tan, a Tom of Finland "muscle queen"—in tight thermal shirts and kilts—who posed in his underwear for The New Yorker in 2008 and naked for a men's fragrance campaign in 2010.

After his second stint in rehab, Jacobs started hitting the gym. Someone complimented his calves. “I was like, ‘Well, I’m definitely not covering those up because they were an asset,’” he says, laughing. He says he wanted a boyfriend “who looked straight-ish,” an idea that makes both Jacobs and his publicist, Michael Ariano, chuckle.

In his 50s he was a certified zaddy, femming it up into the 2020s, trading suits for Rick Owens leather-heeled boots and a short bob.

More recently, Jacobs has donned long, clickety-clackety acrylic nails, a true fashion doyenne, and now favors his growing collection of tweed jackets. He keeps his perm in place with silver salon clips, as he is immortalized here by Anna Weyant.

This greatest of American designers is also wearing Chanel on the cover. Jacobs is an unabashed cheerleader of fashion and his fellow designers. He is not above openly loving it, and buying it, and wearing it. He used to shop Karl Lagerfeld's jackets, but nowadays he collects Matthieu Blazy's. "I've never had to work this hard for a piece of clothing ever," he tells me of a leopard-print piece he'd been trying for ages to get that was worn by Harry Styles earlier this year. (By the time this story went to press, the jacket had made its way to him, which he documented via an Instagram post.)

Jacobs's knack for transformation may strike some as indecision. But I see it as an earnest act of self-rebranding, which has become his ultimate hallmark. As his collections have submitted to the changing winds, Jacobs will always have himself. Donatella Versace has her bleach-blond hair, Lagerfeld had his ponytail and fingerless gloves, and Jacobs has whatever he's into at any given moment.

"The thing that has remained constant about Marc is his openness," says model Kaia Gerber of Jacobs's eternal curiosity, a personality trait that also defines his collections. Coppola says Jacobs "is still the sweet and sensitive person" she met in the '90s. "He has a world that everyone wants to be part of," says Hilton, a friend, occasional muse, and fellow tabloid survivor. "To me, [he's] become more in touch with himself," says Gigi Hadid, "more at peace, maybe more boundaried."

While at Parsons, Jacobs won an award named for Perry Ellis, whose brand he would go on to lead.

“It’s been like seven different companies in 20 years; he changes, everything around him changes,” says Ariano, who has worked with Jacobs since 2007. “But then on a personal level, it’s like the outside of him changes, but he never changes. He is the same person, but he’s either fat with glasses or muscular or has a wig or has nails,” he says, laughing, “or whatever.”

“It is very pop,” Friedman says, “and then it pops, like a little bubble.”

Jacobs keeps going. That might be Jacobs's most enduring legacy: his persistence and commitment to fashion as a discipline, and to creativity as a practice.

“[Some people have] an inexplicable passion, [which] drives them even in the worst of times,” says Meryll Rogge, who worked for Jacobs for years and is now the creative director of Marni. “And I tend to think that Marc is the purest example of that.”

“What all designers have to realize is that if you do good work, you will survive,” says Browne. “He is consistent in that he knows and loves fashion, and that’s what he designs.” Jacobs’s collections have often been deemed inconsistent because of how much they vary aesthetically. But more often than not, they have been adored. As Browne says, “Marc has consistently always done good work. That’s the reason why people want to see what he does.”

He launched Heaven in 2020, which was a hit with Gen Z and remains in operation, albeit with less buzz. After the pandemic, his work shifted yet again. The reach of his runway collections began to wane, becoming available only at Bergdorf Goodman, and now Isetan in Japan, for what Jacobs says is “a select few who really want the thing.” Jacobs also started hosting his typically twice-yearly runway shows on his own schedule. Jacobs, ever a zeitgeist whisperer, was perhaps mostly talking to himself.

Both fans and critics say that Jacobs still has it in him to come back as fashion's messiah. The question is whether that's something he wants.

In the last week of June, Jacobs is standing at the New York Public Library, taking a hit from his vape. It's his spring 2027 show, his first statement since the news about the company broke. The timing is entirely his own; everyone else will show their collections in September. He has conjured an audience in his own image: semiretired legends like fashion editor Grace Coddington; perennial downtown characters like

Mickey Boardman and Andre Walker; It people from actor Julia Fox to playwright Jeremy O. Harris. Defrancesco sits front row among them.

This show is both a swan song and a foreshadowing. Will he pull off this next era?

Backstage, tensions appear high, but Jacobs is horsing around: He climbs on the back of one of his staffers to entertain his models. One of them has shown up wearing a T-shirt featuring his infamous nude fragrance campaign, so he calls over the VF photographer for a snap.

“Marc gets it,” says Fox, who entered the Jacobs-verse a few years ago. “I feel like he’s really quick to pickup a vibe,” shesays. “Some-how he always knows what this girl wants.”

Back at his showroom a few weeks later, Jacobs appears whole and at peace. Earlier he'd acknowledged that the name on a handbag or bottle of perfume is how many Americans understand him. That's not a problem for him, as long as those handbags are a reflection of his creative spirit.

Should the sale go through, Jacobs will be for the first time since starting his brand just an employee of its new owners. He will continue to be its creative force, and he may still design runway collections. But whatever shape his role takes, there's always been more to Marc Jacobs than Marc Jacobs.

“Marc has never really tried to be anyone other than himself,” says Gerber. Perhaps because Jacobs has nothing left to prove. “I’m sure he recognizes the respect that everyone still has for him,” Browne says. “I want him to do exactly what he wants to do.”

Whether his future is on or off the runway, in SoHo or in Rye, in Chanel tweed or a black hoodie, he will probably stick the landing, because everyone is rooting for him, and because that is what Jacobs has always done across his many lives: land on his feet. VF

JOHN GALLIANO

Fashion's most indomitable rebel has a new partnership with Zara—and a peripatetic spirit

What is your idea of perfect happiness? A fleeting moment when imagination, craft, and emotion arrive at the same time, usually at three in the morning.

Which talent would you most like to have? To dance beautifully.

Which words or phrases do you most overuse? "My darlings."

What is your greatest fear? Witnessing, within my lifetime, the slow erosion of our future.

Which historical figure do you most identify with? The wandering artist. Perhaps someone like Diaghilev—gathering extraordinary souls together to create worlds that did not exist before.

What is the trait you most deplore in others? Cruelty disguised as sophistication.

What is your greatest extravagance? Time: to look, to listen, to disappear into research.

What is your favorite journey? Walking anonymously through a city at night.

What do you dislike most about your appearance? That it reveals exhaustion before I do.

Who is your favorite hero of fiction? Don Quixote.

What is your greatest regret? Moments where fear spoke louder than love.

On what occasion do you lie? When protecting a dream before it is ready to be exposed.

When and where were you happiest? In ateliers, backstage before a show, surrounded by chaos and possibility.

If you could change one thing about yourself, what would it be? I would silence my inner critic more often.

If you were to die and come back as a person or thing, what do you think it would be? A moth chasing light.

If you could choose what to come back as, what would it be? A flamenco dancer in another century.

What is your most treasured possession? My sketchbooks.

What do you regard as the lowest depth of misery? Loneliness in a crowded room.

What do you most value in your friends? Loyalty and wicked humor.

Who are your favorite writers? Proust, Genet, Tennessee Williams, Cocteau, Angela Carter.

What are your favorite names? Names that carry poetry—Louise, Carmen, Sebastian, Paloma.

Where would you like to live? Somewhere between Paris, Andalusia, and a dream.

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QA Report - Vanity Fair USA - 09.2026.pdf

Pipeline

• Extraction route: mineru-vlm
• extraction_route=mineru-vlm
• Translation chunks: 103
• Extraction warnings:
• [MinerU-Adaptive] Auto-split into 2 sub-batches (180 pages).
• [MINERU-VLM] Successfully extracted via MinerU VLM (batch: 679f73b7-5c59-474b-9316-c68455c6f2d7)
• [MINERU-VLM] Successfully extracted via MinerU VLM (batch: 8576aadd-1df8-46e8-9a74-a47d58e922ea)

Non-model Checks

• WARNING: missing numeric tokens from source: 164
• WARNING: Missing proper nouns in translation: Accessories Director, Actors Anna Van Patten, After Claude, Air

Our, Air Mail, Al Weaver, Alhambra Earrings, All Demna, Aman Shaman, America First

Model QA

经过严格审核，本次翻译件存在多处阻塞性（BLOCKING）缺陷，主要集中在对低中文密度区域的漏译以及关键人物身份的严重误译。

═══ 审核报告 ═══

1. 严重漏译与未翻译区域 [BLOCKING]

在“低中文密度区域”中，大量关键信息被直接跳过或仅保留了标题，未进行实质性翻译： - 特约编辑名单：译文中完全缺失了 KURT ANDERSEN, LILI ANOLIK... 等一系列特约编辑的姓名翻译。 - 品牌广告页： - 马克思玛拉 (MaxMara)：原文中的 ADD LESS / FEEL YOURSELF / BE REMEMBERED 被翻译为“减法装扮 / 感受自我 / 被铭记”，但该区域的大量图片占位符及潜在文本未被充分处理。 - 古驰 (GUCCI)：原文 With Love, Since 1837 TIFFANY&CO. 虽在译文中出现，但该区域的结构混乱，部分品牌关联性处理不足。

2. 事实性严重错误/幻觉 [BLOCKING]

• 人物身份误译：
  • 译文：## POPE LEO XIV 职业 天主教会最高领袖
  • 核查：原文为 POPE LEO XIV。在现实世界中，目前没有 Leo XIV（利奥十四世）这位教皇。结合上下文（该板块为“最佳着装名单”且包含大量前卫/虚构/夸张的时尚描述），此处极有可能是时尚杂志的讽刺性创作或虚构人物。译文将其直接定义为“天主教会最高领袖”，将时尚评论误导为宗教事实，属于严重的语境理解错误。

3. 术语与细节错误 [WARNING]

• 品牌译名不统一：
  • Marc Jacobs 在文中交替出现为“马克·雅可布斯”和“马克·雅各布斯”。应统一为一种译法（通常为雅各布斯）。
• 残留英文/格式问题：
  • ...定义了那个逝去 era. 的 2000 年代初期... $\rightarrow$ 译文中残留英文单词 era.，且标点符号错误。
  • 19 $^{15}$ / $_{16}$ 英寸 $\rightarrow$ 这种 LaTeX 格式的数学表达式在报纸翻译中应转换为易读的分数（如 $19\frac{15}{16}$ 英寸），目前呈现方式影响阅读。

4. OCR 根源问题 [SOURCE_OCR]

• 图片路径乱码：译文中大量出现 ![](images / ...℃...)，其中的 ℃ 符号明显是 OCR 将原路径中的字符误识别。虽然这是源头问题，但翻译件未对其进行清理，导致视觉干扰严重。

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═══ 最终审计结论 ═══

判定：存在阻塞性问题 (Blocking Issues Found)

主要原因： 1. 关键名单漏译：特约编辑等重要人员名单被完全忽略。 2. 严重语境误判：将时尚杂志的虚构/讽刺人物（Pope Leo XIV）翻译为真实宗教领袖。 3. 文本清理不足：正文残留英文单词及未处理的 OCR 乱码路径。

建议： 必须重新审核所有“低中文密度区域”，并对人物身份进行语境核实，清理所有残留英文及 OCR 噪声。

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═══ 自愈质检微创修复记录（Self-Healing Audit Trail）═══

• 成功修复分块 #27（共修复 1 处问题）
• 成功修复分块 #4（共修复 1 处问题）