Magazine Content Analysis

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S E P T E M B E R 2 0 1 9 THE

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CALENDAR

S H O P It’s been more than four decades since Giorgio Armani shook up the fashion world with his refined yet relaxed take on traditional suiting (which was immediately embraced by Hollywood; see Richard Gere’s perfectly tailored looks in American Gigolo). The designer’s New Normal capsule, in stores now, takes inspiration from those now- classic designs and advertising campaigns by embracing the same soft-lined tailoring—albeit with a modern twist. (Blazer, $2,295, pants, $1,295, flats, $1,095, all, Giorgio Armani, Giorgio Armani, NYC)

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L I S T E N Folk-rock band The Lumineers burst onto the scene in 2012, when their first single, “Ho Hey,” could be heard in just about every coffee shop across America for months on end. On September 13, they’ll release their third full-length studio album, III, which contains nine songs bundled into three “chapters” that together tell a story about family, addiction, and love.

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S H O P Etro is synonymous with colorful paisley prints, but the brand’s Pegasus logo, created in 1968, is just as iconic. This season, the house honors that heritage by reissuing its Pegaso Bag as an on-trend cross-body. (Handbag, Etro, $1,140, select Etro boutiques nationwide)

S E E Louis Vuitton has wowed fans by revealing the incredible skills involved in crafting the house’s signature leather goods via immersive exhibits like Volez, Voguez, Voyagez. The latest, Louis Vuitton X, explores 160 years of the maison’s history through collaborations and interactive digital experiences, spread across 10 rooms in a venue not far from Vuitton’s North Rodeo Drive outpost. (Through September 15, 2019; louisvuitton.com)

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R E A D I N G

L I S T

R E A D The 14 perceptive essays in Leslie Jamison’s Make It Scream, Make It Burn are divided by category—journalism, criticism, or memoir. Touching upon everything from the

“loneliest whale in the world” to Jamison’s experience becoming a stepmother, they demonstrate that the best-selling author of The Empathy Exams continues to explore the limits of human connection.

R E A D In the new anthology Whose Story Is This?, the acclaimed essayist Rebecca Solnit— whom the New York Times has called

“the voice of the resistance”—explores the battle to shape the narrative of our era. “The real work,” she writes, “is not to convert those who hate us but to change the world so that haters don’t hold disproportionate power and so that others are not sucked into the nightmare.”

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D I S C O V E R N Y F W New York Fashion Week, kicking off on Friday, September 6, is a chance to discover fall’s most inspired trends, but we’re equally excited by the dynamic women who are running the show. Armed with ambition and suited-up with personal style that starts from the top with strong, bold hairstyles, fashion’s top designers, entrepreneurs, moguls and multi- hyphenates are bringing their unique vision and creative spirit to the runways and front rows this season. Their influence is unmatched, and their talent proves that there is even more to come. Go to page 155 to discover the next wave of New York talent.

PRESENTED BY TRESEMMÉ

L I S T E N The singer-songwriter Natasha Khan, known as Bat for Lashes, produces danceable, gauzy indie pop that, over four albums, has garnered her three Mercury Prize nominations. Her latest, Lost Girls, out September 6, is inspired by Los Angeles and the 1980s.

WAT C H For years, actress Jillian Bell has stolen scenes in projects like Eastbound & Down, Rough Night, and 22 Jump Street. She finally gets a starring vehicle of her own with Brittany Runs a Marathon, out August 23, a winningly unconventional rom-com about a woman getting her life together in NYC.

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S E E New Yorker art critic Peter Schjeldahl has called sculptor Rachel Harrison’s work “both the zestiest and the least digestible in contemporary art. It may also be the most important.” Decide for yourself when the Whitney Museum unveils the first full-scale survey of her 25- year career, which includes over 100 pieces, on October 25. (Through January 12, 2020; whitney.org)

CALENDAR A R T

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S E E Over the course of her influential career, visionary Japanese

artist Yayoi Kusama—whose work melds pop art with minimalism—has

produced more than 20 Infinity Mirror Rooms. Each is a psychedelic

sensory installation so enveloping that it’s possible to forget where you

end and the space begins. One of her latest, Love Is Calling, opens at ICA

Boston on September 24 alongside Beyond Infinity: Contemporary Art

After Kusama, which pairs her pieces with work by contemporaries like Louise Bourgeois, Tara Donovan,

and Ana Mendieta. (Through February 7, 2021; icaboston.org)

S E E Throughout legendary 93-year-old Betye Saar’s career, she has produced assemblages, collages, and installations that subvert racist stereotypes and touch on mysticism and memory, black power and technology. LACMA’s Betye Saar: Call and Response takes a novel approach to exploring her art, showcasing preliminary drawings from the sketchbooks she has kept throughout her life alongside finished works. (Through April 5, 2020; lacma.org)

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S E E Since the 1979 Iranian Revolution, Iranian-born artist Shirin Neshat has lived in self-imposed exile in the U.S. She didn’t have her first solo show until 1993, when she was 36, but she is now acclaimed for films, videos, and photographs that investigate, among other concerns, how political upheaval impacts interior lives. On October 19, The Broad in L.A. launches a career retrospective with 150 of her works. (Through February 16, 2020; thebroad.org)

LOVE IS

CALLING

(2013)

HOARDERS (2012)

LAND OF

DREAMS

(2019)

THE EDGE OF

ETHICS (2010)

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S E P T E M B E R V O L U M E X X X V N U M B E R 1

NO. 409 58 CALENDAR

122 THE TALENT

124 THE FEED

130 EDITOR’S LETTER

136 NINA’S EDIT

138 NEW ARRIVALS

Extend the summer with these floral add-ons

Front Row

145 THE POWER

OF FASHION

Tailored pantsuits are back in a big way. ELLE’s Véronique Hyland analyzes their runway return. Plus: The allure of the one- and-done boilersuit

154 THIS IS NEW YORK

Six breakout brands aim to push the industry forward. By Naomi Rougeau

164 INTO THE BLUE

Tiffany & Co. reinvests in the island nation Mauritius. Véronique Hyland reports

168 TREND:

CLEAN SWEEP

Embrace your inner germaphobe (yes, really)

170 TREND: EVERYTHING

IS ILLUMINATED

Vibrant hues revitalize black basics

173 TREND: SHE’S

ELECTRIC

Supercharge your look with retro- futuristic details

Accessories

175 CREATURE FEATURE

Faux fur meets Monsters, Inc. for a surprising seasonal mash-up

190 WHITE LIGHTNING

Diamanté accents in overdrive

DRESS, DOLCE & GABBANA, $2,845.

BELTS, BOTH, ST. JOHN, $595 EACH. C

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R A L P H L A U R E N

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AN OPEN MIND IS THE BEST LOOK

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S E P T E M B E R V O L U M E X X X V N U M B E R 1

NO. 409 236 JAWLINES

OF VICTORY

Cheryl Wischhover investigates the latest body part under surgical scrutiny

238 YOUR GARDEN

GROWS

Beauty goes weak-kneed for florals. Katie Becker reports

240 GROUP CHAT:

BEST CURLING

IRONS

Three pros weigh in. By Erin Reimel

242 THE GREAT

SUPPRESSION

Vox journalist Liz Plank examines the harried state of heterosexual relationships

Culture

247 FALL PREVIEW

Introducing our annual culture extravaganza: seven pages jam-packed with award-courting films, buzzy books, star-making performances, and more

Perspectives

260 THE REVENGE-

PORN WARRIOR

Attorney Carrie Goldberg trudges into battle with real- life trolls. In her new memoir, she opens up about her call to the courtroom. By Jessica Testa

264 GOD IS

LOVE, AND A

SORORITY, TOO

Hayley Phelan dives into the dizzying world of Hillsong, an Instagram-friendly megachurch enticing millennials to get spiritual

270 SHE CONTAINS

MULTITUDES

Molly Langmuir sits down with the New Yorker’s rising star, writer Jia Tolentino

274 ASK E. JEAN

Relationship hell? E. Jean Carroll to the rescue!

192 ROCK CANDY

Six jewelers share their love of carved stones

201 FORWARD,

MARCH

Introducing our favorite lug-soled boots, for real or proverbial slush

202 GLAM SQUAD

Supermodel Natalia Vodianova teams up with Chopard

204 THE LADY

BUNCH

On our radar: eight earth-toned handbags

Shops

207 UNDER COVER

Twenty-six dreamy overcoats for every aesthetic, from tweed dusters to futuristic puffers

Beauty

219 RUNWAY

TO ELLEWAY

Erin Reimel reports on fall’s most powerful trends: exaggerated lashes, manicured pixie cuts, and more

224 BEST OF

SEPTEMBER

By Katie Becker and Erin Reimel

226 ELLEWORD

Lauren Hutton plays our inaugural round of word association. By Kate Foster

232 INSTANT SKIN

CARE

New products promise to firm eyes, minimize pores, and reduce redness—all in mere minutes. Are they too good to be true? By Katie Becker

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S E P T E M B E R V O L U M E X X X V N U M B E R 1

NO. 409 The Well

277 FORCE OF

NATURE

As Angelina Jolie revives Disney’s beloved antihero, Maleficent, the actress and humanitarian reflects on the power of wicked women. Photographed by Alexi Lubomirski. Styled by Elizabeth Stewart

286 UNDER THE

TUSCAN SUN

Photographer Cole Sprouse captures postcard-worthy scenes in the Italian countryside. Styled by Natasha Royt

302 LIP SERVICE

Dior’s Peter Philips unveils a sumptuous line of lip color, styling tips included. Photographed by Richard Burbridge. Styled by Jessica Dos Remedios

310 URBAN

LEGENDS

Mixed prints and look-at-me palettes find a fitting home in Manhattan’s cityscape. Photographed by Matthew Kristall. Styled by Rebecca Dennett

330 PARIS MATCH

Midcentury tweed takes a trip to the Seine. Photographed by Terence Connors. Styled by Marine Braunschvig

340 THE

ITALIAN JOB

Model Candice Swanepoel descends into the coveted cushions at Forlini’s. Photographed by Carin Backoff. Styled by Paul Cavaco

The Cover Looks

Newsstand Cover:

Angelina Jolie wears a dress and belt from Dior, bracelets from Cartier, and vintage earrings. Subscriber Cover:

Jolie wears a jumpsuit from Stella McCartney, aviators from Dolce & Gabbana, and hoop earrings from J. Hannah. For Jolie’s makeup look, try L’Essen- tiel Natural Glow Foundation in Very Light, Palette 5 Couleurs in L’Heure de Nuit, Eyebrow Kit in Universel, and Rouge G de Guerlain Lipstick in N°23. All, Guerlain. Photographed by Alexi Lubomirski (styled by Elizabeth Stewart; hair by Adam Campbell at the Wall Group; makeup by Toni G for Joe Blasco Cosmetics; mani- cure by Emi Kudo for OPI; set design by Jack Flanagan at the Wall Group; produced by Nath- alie Akiya at Kranky Produktions).

348 THINK BIG

Women are demanding space— from C-suites to presidential debates—and the runways are mimicking their battle cries. By Dayna Evans. Photographed by Zoey Grossman. Styled by Charles Varenne

End Notes

356 ELLE TRAVEL

St. Barts is back in business. By Brianna Kovan

358 HOROSCOPE

360 SHOPPING

GUIDE

364 ELLE-

CONOGRAPHY

DRESS, STELLA MCCARTNEY. M

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♥2019 Π&Γ

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T E R E N C E

C O N N O R S

@terenceconnors Photographer and

videographer

Provenance: Grew up between

Manhattan and Paris

Now: Montauk, New York

This month: Photographed “Paris Match” (page 330)

Bona fides: BFA, film, School of Visual Arts; has

worked on campaigns for brands such as

Sonia Rykiel, Tommy Hilfiger, Polo Ralph

Lauren, and Jo Malone

First gig: Videographer for a Paris skateboard

shop at age 15

Movie on repeat: Éric Rohmer’s 1967 French film La Collectionneuse

Lesson learned: Find something you love, and you’ll never work a day

in your life. “I find myself on jobs saying, ‘This trip is so fun,’ and clients will look at me like, ‘This isn’t

a trip. This is work.’�”

Parisian haunt: La Chaise au Plafond in the Marais

district. “It’s a little restaurant with outdoor seating, and it’s good for people watching.”

CONTRIBUTORS

Introducing five standout artists behind our most

ambitious issue of the year. By Zoe Bean

D AY N A E VA N S

@DaynaEvans_ Writer

Provenance: Philadelphia

Now: Brooklyn

This month: Wrote “Think Big” (page 348)

Bona fides: BA, creative writing, New York

University; has written for the New York Times, GQ, and New York magazine

First gig: Sales associate at PacSun

Reading: Braiding Sweetgrass: Indigenous

Wisdom, Scientific Knowledge and the

Teachings of Plants, by Robin Wall Kimmerer

Movie on repeat: 2011’s Fast Five

Current inspiration: Teen climate-change activists,

like Greta Thunberg

Power source: “Having a community of women

around me makes me feel powerful.”

Best habit: “I wake up really early, [which is when]

I do my best writing.”

Past-life persona: A surfer. “There’s something about San Diego and beaches—

even though I’m not a nature person at all.”

Upcoming: A nonfiction book (currently in the

proposal stage) about the history of women and their

relationship with bread

T H E R E S A H AY E S

@theresahayesofficial Model

Provenance: Brooklyn

Now: Los Angeles

This month: Stars in “Paris Match” (page 330). “While

we were having lunch, my 1998 Louis Vuitton

backpack was stolen, along with my passport, a little point-and-shoot camera, and my journal. I cried for

two minutes, wiped my tears, and went on

with the shoot.”

Bona fides: Modeled exclusively for Louis Vuitton for three seasons (2016– 2018); has since walked

the runway for the likes of Paco Rabanne, Valentino,

and Zimmermann

First gig: Sales associate at the Hollister on

Fifth Avenue

Reading: The Untethered Soul: The Journey Beyond

Yourself, by Michael A. Singer; The Energy of

Money: A Spiritual Guide to Financial and Personal

Fulfillment, by Maria Nemeth; and The Four

Agreements: A Practical Guide to Personal Freedom,

by Don Miguel Ruiz

Movie on repeat: The Matrix. “I honestly feel like

Neo these days.”

Past-life persona: “A bird, [maybe] a black hawk.”

Upcoming: A coconut-wax candle line, Blessed By T

J E S S I C A T E S TA

@jtes Reporter

Provenance: Phoenix

Now: Brooklyn

This month: Wrote “The Revenge-Porn Warrior” (page 260)

Bona fides: BA, journalism, and MA,

mass communication, Arizona State University; former national reporter

for BuzzFeed News

First gig: Cashier at a pool supply store. “I’d

talk to people about pH levels and chlorine.”

Reading: Random Family, by Adrian Nicole LeBlanc

Movie on repeat: Annihilation. “It was, like,

all women. There was only one man, and it was Oscar Isaac, which was allowed.”

Recent splurge: A blue wedding dress from Brooklyn designer Samantha Sleeper

Current inspiration: The female Democratic presidential candidates

Dream subject: Christine Blasey Ford. “If you’re

reading this, give me a call.”

Past-life persona: A museum curator. “But that’s such a pretentious answer!

Maybe I was a goldfish.”

Upcoming: An Oxygen TV adaptation of her 2018 BuzzFeed News article

“The Case Died With Her”

P E T E R P H I L I P S

@peterphilipsmakeup Makeup artist

Provenance: Antwerp, Belgium

Now: Paris

This month: Styled and created the makeup palette for “Lip Service” (page 302)

Bona fides: Studied graphic design at ESA Saint-Luc Bruxelles and

fashion at Royal Academy of Fine Arts Antwerp;

currently Dior Makeup’s creative and image director

First gig: Cleaning his grandfather’s

charcuterie shop. “From five or six years old, we were all helping.”

Movie on repeat: Anything by Alfred Hitchcock

Lesson learned: “My generation was told the

sky was the limit, that you could do anything you wanted. We’re paying for that now. I wish we had been more careful with the environment.”

Past-life persona: A gardener on an

English estate

If he weren’t a makeup artist: “I’d design furniture, chandeliers, tables, chairs,

ingenious storage.”

The

Talent

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THE FEED

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Once the stuff of Nickelodeon specials, the

shade is now a marker of street-style status.

Track this trend and more at ELLE.com.

CLOCKWISE FROM FAR LEFT: AT LONDON FASHION WEEK; MAYOWA NICHOLAS; KENDALL JENNER; AT NEW YORK FASHION WEEK; AT LONDON FASHION WEEK.

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ike most of the world, I’ve long been fascinated by Angelina Jolie. Before I met her, I always thought there was something magnetic about her ability to blaze a trail and live without compromise. Now that I know her firsthand, I’m in awe of her

generosity and compassion. She graced my first cover as editor-in-chief of ELLE in March 2018, and now, a year and a half later, I’m very excited to work with her again for our cover story on page 278. She is one of those multifaceted women we love to embrace at ELLE.

What you might not know about Angelina is how involved she is when it comes to the process—whether it’s a shoot, or a film, or a cause. She follows through on her commitment; she will get on the phone with you herself to make sure that every detail is just right. That’s what makes her so impressive—she faces every challenge head-on.

This past February, when I went through my preventive double mastectomy, Angelina’s 2013 New York Times essay about her own de- cision to have the surgery resonated with me, and I drew a great deal of strength from her words.

We’ve seen so many versions of Angelina over the years, from her early wild-child days to her emergence as a philanthropic force and a director in her own right. She has made some nontraditional choices in her life, but she has always been her own person, and doesn’t worry unduly about what other people think of her.

Another woman with a similarly uncompromising attitude is Carrie Goldberg, the attorney who’s become known as the “troll hunter,” for helping clients fight revenge porn. (One client has called her “a feminist

guardian angel.”) Goldberg’s memoir, Nobody’s Victim, lifts the veil on the personal experiences that led her down this career path—namely, the assaults and abuse she herself suffered at the hands of men. On page260, Jessica Testa profiles a woman who’s managed to take some very trau- matic incidents and turn them into something positive for other women.

As Goldberg has seen up close, we are in a transitional time when powerful women are ostensibly celebrated, yet the culture at large still seems threatened by female authority. (Just look at the public reaction to some of our more outspoken freshman congresswomen.) Given the parade of power suits we saw on the runway, designers have been thinking about that question, too. In this, our “The Power of Fashion” issue, we go deep on what “power dressing” means today, and how it no longer automatically translates to shoulder pads and pinstripes. These days, there are myriad ways to look like a boss. But ultimately, it’s about the power of the woman behind the wardrobe.

@NINAGARCIA NINAGARCIA @NINAGARCIAOFFICIAL

POWER SOURCE

ANGELINA WITH HER DOGS: “THEY HAVE A

HABIT OF RUNNING AROUND THE BED

WHEN I’M READING— PARTICULARLY THE ROTTWEILER, WHO

THINKS HE’S SMALLER THAN HE IS.”

TRENCH COAT, GALVAN, $1,495.

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BULGARI. SANDALS, GIANVITO ROSSI,

$995. BAG, CELINE BY HEDI SLIMANE, $2,250.

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Nina Garcia is enchanted by

the tones and textures of Dior’s

Morocco-inspired cruise collection.

Desert Rose

M A R R A K E C H E X P R E S S

“No destination is too far-flung for Dior’s Maria Grazia Chiuri. In April, I headed to Marrakech to take in her cruise collection at the sixteenth-century El Badi Palace. Each piece felt perfect for a dream vacation, from the artisan-woven leather sandals and totes to the exquisitely detailed maxidresses.”

CLOCKWISE FROM TOP LEFT: GARCIA AT EL BADI PALACE AHEAD OF DIOR’S CRUISE 2020 SHOW; GUEST SEATING FOR THE SHOW; A LOOK FROM THE COLLECTION.

BRACELET, DIOR.

AVIATORS, DIOR.

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SANDAL, DIOR.

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DIORSHOW ON STAGE LINER IN VINYL BLACK,

DIOR, $31, DIOR.COM

MESSENGER BAG, DIOR.

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NEW ARRIVALS

The perfect companion to Dolce & Gabbana’s boudoir-chic fall collection? A loved-up carryall in red rose brocade with a heart-shaped ex-voto. Handbag, Dolce & Gabbana, $1,695, select Dolce & Gabbana boutiques nationwide.

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w w w .a k r is .c o m

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NEW ARRIVALS

Anyone who follows Gucci’s Alessandro Michele on Instagram knows the creative director’s fascination with antiquity, be it his own taxidermy- and sculpture-filled Roman apartment or his frequent vintage shopping excursions on the city’s Via del Governo Vecchio. So it should come as no surprise that Michele’s debut high jewelry collection is teeming with museum-worthy baubles, such as these

shoulder-grazing, botanical-inspired beauties. Rubellite, tourmaline, and pink sapphire one-of-a-kind earrings, Gucci, gucci.com.

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NEW ARRIVALS

Just in time for late-summer garden parties: Tabitha Simmons’s velvet-ribboned, retro chintz lace-up for Coach, no green thumb required. Sandal, Coach x Tabitha Simmons, $150, coach.com.

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FRONT ROW MODELS BACKSTAGE AT GIVENCHY, FALL 2019.

The Power

of Fashion

IN AN ERA WHEN WOMEN ARE FIGHTING, once again, for our hard-won access to choice, it might seem counterintuitive that the suit—in its most masculine, tailored, gray flannel incarnation—is mak- ing a comeback. But come back it did, on female dandies in bow ties at Dolce & Gabbana, girls with cravats at Burberry, twenty-first-century Katharine Hepburns at Givenchy, even the cool kids at Alexander Wang (where a loose gray version, worn over a shiny black vest, served as a hipster-ized version of the three-piece suit).

There’s a well-worn saying that “three is a trend.” But when it’s more of an avalanche, like this season’s parade of suits, it’s clear that some kind of reclamation of power is going on. In this case, that means power in its most literal form—suits with ’40s tailoring or the strong shoulders of an ’80s corporate raider. But worn with a touch of irony, or accessorized with a slice of bare midriff, torso, or leg, a look like this says, “Yes, I can try on these traditional markers of strength, but I won’t change everything about myself in the process.”

In other words, you don’t have to start dressing like a corporate drone. Both traditional and transgressive power looks abound this

By Véronique Hyland

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FRONT ROW D E E P D I V E

season. On the trad side, Giorgio Armani, who dressed Hol- lywood types in softly tailored power suits back in the ’80s, is paying tribute to his legacy with his New Normal collection, which celebrates suiting in all its forms (see page 58). Mean- while, some women, Olivia Stren reports, are looking to the boilersuit and its one-and-done appeal as their new power suit (page 150). Think of it as the fashion equivalent of having it all.

Of course, shoulder pads and mechanic’s overalls aren’t

makes you feel most powerful.

There’s a reason some of the chicest women around have long borrowed from the boys. From classic dinner jackets to banker pinstripes, the ease and instant polish a suit offers is unrivaled.

Toss in a few unexpected twists, like Burberry’s monogram shirt- and-tie combo or Dolce & Gabbana’s boudoir-inspired finishes,

and you’ve got proof yet again that anything they can do…

N E W T R A D I T I O N A L

ACNE STUDIOS

ALEXANDER McQUEEN

DOLCE & GABBANA

ALEXANDER WANG

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JANELLE MONÁE

FRONT ROW D E E P D I V E

No shirt, no tie, no problem. Whether you choose to bare your midriff in a minimalist bandeau à la

Cara Delevingne, come undone with a plunging lapel like Kendall Jenner, or leave your trousers at home like

daring Tessa Thompson, the season’s soft, no-boardroom-required tailoring

is as relaxed as you care to be.

L E T T I N G LO O S E

CARA DELEVINGNE IN DIOR

KENDALL JENNER IN JEAN PAUL

GAULTIER

GIGI HADID IN HERON

PRESTON

TESSA THOMPSON IN

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M Y L A G O S M Y WAY

S M A R T C AV I A R

T H E F I R S T F I N E J E W E L RY B R AC E L E T F O R YO U R A PPL E WAT C H ®

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FRONT ROW D E E P D I V E

IN 1942, ROSIE THE RIVETER, heroine of the working American woman, starred in a wartime campaign aimed at recruiting women to work in factories and shipyards. We’ve all seen the now-iconic poster where she poses in a boilersuit, with a fearless gaze and flexed bicep, alongside the slogan: We Can Do It!

Today, Rosie’s heirs have made it off the factory floor and onto the runway, where that same can-do spirit prevails. For fall, Dior’s Maria Grazia Chiuri cooked up a quilted boilersuit that was as utilitarian as it was refined; at Salvatore Ferragamo, Paul Andrew’s take on the look, rendered in tobacco-hued leather, conjured simultaneous toughness and elegance; and Isabel Marant’s khaki version, collarless and strong- shouldered, emanated both power and ease—along with a sense that there is power in ease. Today’s suits look like they know how to fix a carburetor while swilling a champagne cocktail. They even found a ce- lebrity ambassador recently in the form of Irina Shayk, making her first paparazzi appearance post–Bradley Cooper breakup in a military style from Burberry: the perfect look for parachuting her way into singlehood.

Fashion has long prized show over utility, tossing aside practicality in favor of art and fancy. But the needle is moving: Thanks to street style and Instagram, reality is now the runway. In an age held in thrall to ideals of multitasking and efficiency, where celebrities are papped running er- rands “just like us,” the boilersuit—optimization on a hanger—is arguably the power suit du jour. It’s the ultimate triumph of fashion-as-life-hack.

Sure, there have lately been the welcome rumblings of a backlash against the if-you-can-do-it-all-you-can-have-it-all algorithm, a recipe (myth? con?) for general despair and a free-floating sense of failure. Women are pushing back against the idea that we are not only supposed to meet every challenge, we are supposed to do it with grace, without the unsexy discomfort of effort. While that may be an impossible stan- dard, the boilersuit is, at least, not going to get in the way of whatever’s on your to-do list. It’s a versatile workhorse, presumably ready to jump on a call, pick up a child from a playdate, head to yoga, and make grain- free granola—or just lie on the couch. And if you can’t do it all, at least your wardrobe can.

The all-in-one look is the new uniform for those trying to do everything at once. Could the

boilersuit be the new power suit? By Olivia Stren

FA S H I O N F O R O V E R A C H I E V E R S

IRINA SHAYK IN BURBERRY

ROSIE HUNTINGTON-

WHITELEY IN RALPH LAUREN

ISABEL MARANT

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DIOR

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C E L E B R AT E YO U R

PERSONAL STYLE P R E S E N T E D B Y TA C O R I

FOR FULL PRODUCT INFORMATION, PLEASE VISIT TACORI.COM/ELLE

Fashion is the language of

personal expression: You can tell

your unique story with what you

wear and how you wear it, from

shoes to clothes to accessories.

California-based, beloved jewelry

brand Tacori understands that

personal style is bigger than

any trend, which is why Tacori’s

artisans craft every piece by

hand, from dazzling ready-to-

wear pieces to bespoke, custom-

ordered engagement rings and

wedding bands. With so many

pieces to choose from—and the

room to design your own—Tacori

empowers you to own your style.

MORE IS MORE Stacking is one of the best ways to customize your look. Whether you’re playing with pairings or sampling styles, Tacori’s delicate stunners add instant personality.

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ENTER TO WIN

$20,000 It’s your time to shine.

Tacori is gifting five lucky, jewelry- obsessed shoppers the chance to win $20,000 of stunning Tacori pieces.

Interested? So are we. We #LoveTacori, so we broke down everything you need to know.

HOW TO ENTER

STEP 1: Go to Tacori.com to find your closest Tacori retailer to head there in person.

STEP 2: In store, visit the Tacori Try-On Station, which features 7 iconic, hand-selected styles so good, you’ll instantly fall in love.

STEP 3: Express yourself. Try on your favorite Tacori piece, and snap a photo and text to enter for your chance to win.

NORTHEAST

ADLERS JEWELERS 217 North Ave. W. Westfield, NJ 07090 908-233-4760

BARIBAULT JEWELERS 81 Rankin Road Glastonbury, CT 06033 baribaultjewelers.com

BARMAKIAN JEWELERS Boston | Framingham, MA Nashua, NH barmakian.com

BENARI JEWELERS Exton | Newtown Square, PA benarijewelers.com

H.L. GROSS & BRO. JEWELERS 840 Franklin Ave. Garden City, NY 11530 hlgross.com

MERVIS DIAMOND IMPORTERS Washington, DC Tysons, VA | Rockville, MD mervisdiamond.com

RUMANOFF’S FINE JEWELRY 4133 Whitney Ave. Hamden, CT 06518 rumanoffs.com

SMYTH JEWELERS Timonium | Annapolis Ellicott City, MD smythjewelers.com

TAKE A CHANCE ON LOVE

For a full list of participating Tacori retail destinations, official rules and regulations and alternative form of entry, visit Tacori.com/lovetacori.

FEATURED RETAIL DESTINATIONS

= Tacori Blue Diamond Partner = Tacori Diamond Partner

SOUTH

SOLOMON BROTHERS 3340 Peachtree Rd NE #1700 Atlanta, GA 30326 solomonbrothers.com

CHARLESTON ALEXANDER JEWELERS 5924 Leesburg Pike Falls Church, VA 22041 Wherethediamondsare.com

NO PURCHASE NECESSARY. #LoveTacori is open only to legal residents of the 50 United States (and District of Columbia) and Canada who are over the legal age of majority in their jurisdiction of residence at the time of entry. Promotion begins on July 15, 2019 and ends on December 31, 2019 at 11:59 p.m. EST. 5 prizes (ARV: $20,000 each). Odds depend on number of entries. Eligible Canadian winner(s) will be required to correctly answer a mathematical skill-testing question. For official rules visit www.tacori.com/LOVETACORI. Sponsored by Tacori Enterprises, PO Box 251540, 120 E. Chevy Chase Drive, Glendale, CA 91025. Void where prohibited.

Your love story is unique, so pick a ring that reflects your style. Tacori artisans work with couples to make any custom ring dream a reality. Your rings, your way.

#LOVETACORI

TRUE COLORS Using color is one of the best ways to express yourself. We #LOVETACORI because they off er a wide variety of gemstones, from decadent Amethyst to crystal-clear Sky Blue Topaz, so that you can share your spirit— no words necessary.

MAKE A STATEMENT If bold is your codeword, opt for a dressy pendant necklace or a trendy, triple- banded ring.

SIGNATURE STYLE Your personal style is like your autograph—uniquely you. Each Tacori piece is signed with the signature crescent silhouette.

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Meet six

stellar talents

making waves

far beyond

the Big Apple.

By Naomi

Rougeau

This Is New York

T H E S O C I A L

C O N S C I E N C E

Refuse Club @refuseclub

Anyone who still believes fashion

can’t tackle serious issues would do well to check out Refuse

Club. Founders Yuner Shao and “Stef”

Puzhen Zhou are seeking to fuel the

#MeToo conversation in their home country

of China, which has been silenced by the government (hence

their decision to show in New York). Look

for unisex ensembles featuring censorship- inspired messaging.

T H E

E M P O W E R M E N T

A D V O C AT E

Burnett New York @burnettnewyork

Few purchases in a woman’s life are as memorable or as stressful as her wedding dress. But the process was seamless for former Goldman Sachs analyst Sterling McDavid, thanks to Emily Burnett, then the creative director of Dennis Basso. The two hit it off so well, they decided to launch Burnett New York. The philanthropy- driven brand takes women from the office to the dressiest of black-tie events, all while supporting female education initiatives.

T H E S H O W S T O P P E R

Tomo Koizumi @tomokoizumi

When a relatively unknown Japanese costume designer—plucked from Instagram obscurity by stylist Katie Grand—staged the most buzzed-about show of New York Fashion Week, the fashion world took notice. And while Tomo Koizumi’s larger-than-life tulle confections may not be the most practical IRL, word has it that the designer would love to roll out a slightly scaled-down, but no less kaleidoscopic, capsule collection.

FOR MORE ON BURNETT NEW YORK’S EMILY BURNETT AND STERLING MCDAVID, PLUS FIVE OTHER DYNAMIC WOMEN IN NEW YORK FASHION, SEE THE FOLLOWING PAGE.

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P R E S E N T E D B Y T R E S E M M É

It’s September in New York City and Fashion Week is in the air. Though show-stopping fashion on the runways usually catches the front pages, this season we are equally impressed with the dynamic women–from designers to entrepreneurs–off the runways. It’s the women sitting in the front rows and working behind the scenes who are shaping fashion as we see it today. With unmatched personal style, killer hair, and a thirst for ambition, these women are bringing fashion week to life.

Fashion Week might be approaching in New York City, but it’s the women powering fashion this fall who have truly arrived.

Powering New York’s Runway

EMILY BURNETT &

STERLING MCDAVID

ARPANA RAYAMAJHI

TEZZA BARTON

JAYCINA ALMOND

MARIA DUEÑAS JACOBS

OLIVIA PEREZ

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Emily Burnett & Sterling McDavid Co-founder, Burnett New York, @burnettnewyork

The two women behind the buzzy fashion brand Burnett New York know that style is a weapon of a woman’s ambition, which is why they are making powerful clothes for women of all body types. With a focus on sustainability and women’s

rights, and by casting an army of diverse models for their shows, Emily and Sterling are paving the road to fashion’s future.

GET EMILY’S LOOK (left):

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Both women are wearing looks from their fall collection. Emily (left) in khaki trench and Sterling

(right) in blue dress.

GET STERLING’S LOOK (right):

OLD-HOLLYWOOD GLAMOUR

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Compressed Micro-Mist Level 2 for a polished look.

“This will be our second collection at New York Fashion

Week. It will be playful, joyful, and

speak to our mission as a brand for women’s

empowerment.”

SCAN HERE TO SEE BEHIND THE SCENES VIDEO AND TO SHOP.

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Jaycina Almond Model and Founder, Tender, @jaycina

Not many people can balance a bustling career as a model with a two-year-old while launching a company (a subscription box designed especially for moms) before hitting that age of 25, but for Jaycina Almond, it’s just another day in the bucket. Busy is her daily, so Jaycina opts for an eff ortless hairstyle and a breezy

look that can move her through the day without disruption. Her full and free locks, which she loves to rock on the runway, inspire her no-rules wardrobe.

Dab TRESemmé Anti-Frizz Smoothing Cream between your palms and apply through hair to manage frizz.

Highlight your natural texture with the help of TRESemmé Flawless Curls Gel, which ^PSS�KLÄ�UL�HUK�HTWSPM`�J\YSZ�

Use TRESemmé Compressed Micro-Mist Level 3 for lightweight coverage that still supports big, bold, beautiful hair.

GET THE

LOOK

“My hair lets me be wild

and expressive. I could wear a

simple white tee and I would look

great because my hair is my statement.”

1 2 3

MAXIMUM VOLUME

SCAN HERE TO SEE BEHIND THE SCENES VIDEO AND TO SHOP.

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SCAN HERE TO SEE BEHIND THE SCENES VIDEO AND TO SHOP.

“My Personal Style is all about tailored classics, like polka

dots or a tried- and-true jean and

T-shirt combo. That’s when I feel

my best.”

GET HER LOOK:

THE BENDS

After washing hair with TRESemmé Repair & Protect 7 Shampoo &

Conditioner, quickly blow dry hair.

Secure your volume with TRESemmé TRES Two

Extra Hold Mousse.

Using a ¾ inch to 1 inch iron, create loose curls.

Finish it off with a spritz of TRESemmé

Compressed Micro-Mist Level 1 for texture.

Maria Dueñas Jacobs Director of Brand Development, Stitch Fix, @mduenasjacobs

Maria’s name is eponymous with chic. The mom and former ELLE editor is the ultimate fashion authority, and this fashion week she’ll be scouring the runways to fi nd the perfect pieces for Stitch Fix’s fall lineup. Maria can sense a trend— and, infl uence one—as quickly as she can tousle her locks into a modern, windswept do, perfect for her on-the-go lifestyle.

Maria needs hair that can keep up as she’s dashing from photo shoots to fashion shows to everything in between, and she’s nailed it with her easy, low-maintenance but high-impact textured bob.

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Olivia Perez Journalist and Entrepreneur, @livvperez

Olivia Perez is the definition of a multihyphenate: She balances her blog,

Friend of a Friend, a booming Instagram feed, and just launched a podcast where she interviews A-list female moguls and

visionaries. She’s taking her interviewing chops all the way to New York Fashion Week to report on the splashiest styles

from the runway and the women behind the scenes making it all happen. Olivia lights up a room with unmatched energy and a bold,

strong hairstyle to match.

“New York Fashion Week is like going to summer camp. You’re scared to go, but so

excited.”

1 2 3 Prep hair with TRESemmé Thermal Creations Flat Iron Spray to protect your locks. Then, part hair down the middle HUK�ZTVV[O�̂ P[O�H�Å�H[�PYVU�

Keep it sleek all day with TRESemmé Compressed Micro-Mist Level 4.

Brush hair behind the ears. Use clips to keep it in place. With your roots on full display, use TRESemmé Root Touch Up to make sure your part is on point.

GET HER

LOOK DRESSED-UP

SLEEK

SCAN HERE TO SEE BEHIND THE SCENES VIDEO AND TO SHOP.

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Tezza Barton Influencer and Musician, @tezza

The Salt Lake City native traded spawning green pastures for city-sleek sidewalks, but her style is the perfect marriage of the two: unique and organic meets strong and modern, perfect for her equally dynamic career

pursuits. A fashion show staple, Tezza reports from the front row for her followers, ensuring that those not in New York still know about the buzziest looks from the catwalk.

GET HER LOOK:

THE UNDONE BUN Massage Thermal Creations Blow Dry Balm into your hair before blow- drying for a relaxed texture.

Pull the top layer of hair back into a messy bun that sits on the nape of your neck.

Spritz TRESemmé TRES Two Extra Hold Hairspray for more volume.

For a next day refresher, Tezza uses TRESemmé Fresh Start Volumizing Dry Shampoo.

“New York City is both my biggest

infl uence and best source for

inspiration. And when it comes to my hair, the

messier, the better.”

SCAN HERE TO SEE BEHIND THE SCENES VIDEO AND TO SHOP.

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Arpana Rayamajhi Jewelry Designer, @arpanarayamajhi

Arpana doesn’t follow trends, she makes them. Literally. The budding actress and bona fi de jewelry craftsman

founded her namesake accessories line, Arpana Rayamajhi, and makes every stunning piece by hand. Fashion brands seriously covet her unique items for their shows, so don’t be surprised if you see her designs all over the runways.

Arpana is constantly inspired by art and the world around her, resulting in truly bespoke pieces and an eclectic style

that refl ects her boundless creativity.

“I love braids,

I love their simplicity.

It takes me back to when I was younger.”

1 2 3 SCAN HERE TO SEE BEHIND THE SCENES VIDEO AND TO SHOP.

Spray hair with TRESemmé Thermal Creations Blow Dry Accelerator Spray before blow-drying your hair upside down.

Smooth it down with TRESemmé Compressed Micro-Mist Level 2.

For a feminine next-day look, prep hair with TRESemmé Fresh Start Volumizing Dry Shampoo before twisting it into a side halo braid.

While blow-drying, separate hair into large sections and roll each around two Ä�UNLYZ�HUK�OVSK�LHJO� for 15 seconds. Add thin braids, starting from the middle part. Use TRESemmé TRES Two Extra Hold Mousse to make the braiding process easy.

GET HER

LOOK BRAIDED BEAUTY

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4 TRESemmé Compressed Micro-Mist Level 1

Lock in your Fashion Week look with Micro-Mist Texture. A few spritzes will give you maximum hold without any stiffness.

TRESemmé Compressed Micro-Mist Level 3

If you’re all about turning up the volume, try Micro- Mist Boost for full hair that doesn’t weigh you down.

TRESemmé Compressed Micro-Mist Level 2

Is sleek your style? 5BNF�nZBXBZT�BOE� achieve a glossy look with Micro- Mist Smooth.

TRESemmé Compressed Micro-Mist Level 4

For serious all-day hold that moves with you, Micro- Mist Extend is a Fashion Week must.

Power Moves There are certain essentials any savvy and stylish woman needs to win fashion week: A fully-charged phone, a pair of flats for dashing to the next show,

and most importantly, assurance that your effortless hair will last from the morning show to the late-night after-party. Thankfully, TRESemmé has got you covered: TRESemmé Compressed Micro-Mist delivers a long-lasting, locked-in hold with zero stiffness.

FOUR UNIQUE TYPES (TEXTURE, SMOOTH, BOOST, AND EXTEND) DELIVER A FLAWLESS FINISH, DEPENDING ON YOUR PERSONAL STYLE, FOR BEAUTIFUL HAIR THAT LASTS ALL DAY.

To learn more scan your phone here or visit TRESemme.com

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FRONT ROW

T H E S P O R T S W E A R H E I R

Khaite @khaite_ny

Fashion editors love to sit around ruminating over the current state of American sportswear (the athleisure trend doesn’t cut it, folks). Cate Holstein might just be the antidote to all things spandex. Her brand has been steadily gaining steam thanks to her carefully crafted minimalist separates and unwavering point of view. This season, with a full-scale runway show and the addition of handbags, the cult fave is ready for the big time.

T H E C O O L K I D

Kim Shui @kimshui

Kim Shui reimagines sexy dressing with a slightly undone nod to Chinese tradition, featuring artfully knotted silks and slit-up-to-there cheongsam-style dresses. Among her fans? Virtual influencer @ lilmiquela, Gigi Hadid, and Kylie Jenner and daughter Stormi, who recently posed on Instagram in mother-daughter Shui looks.

T H E G E N D E R B E N D E R

No Sesso @nosessola

Wanting to leave no doubt as to the genderless nature of her creations, designer Pierre Davis simply named her label “No Sesso” (meaning “no gender” in Italian)—and, in her fall collection, spelled it out in rhinestones across the seat of a tracksuit. From patchwork bustiers to oversize shearling boleros, the offering was as refreshingly diverse as the models themselves, who included musicians Steve Lacy and Kelsey Lu. KH

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FRONT ROW

C O N S E R VAT I O N

What does the ocean have to do with diamonds? For

Tiffany & Co., preserving the marine environment is

all part of the process. By Véronique Hyland

Into the Blue

n the middle of the Indian Ocean, off the coast of Madagascar, lies the tiny island of Mauritius. Encircling it like a necklace is one of the world’s largest coral reefs, which, like coral reefs everywhere, is under threat from warming oceans. Over the

last few decades, Mauritius’s beaches have shrunk by 65 feet, in part because of damage to its reefs.

The country is also home to one of Tiffany & Co.’s diamond polish- ing operations: The stones are flown in from Antwerp and perfected there. Technicians examine them under a microscope and polish them using a machine that looks very much like a record player (if it had a

diamond where the needle is). Given that the island is so important to the process, one of the aims of the Tiffany & Co. Foundation, the jewelry house’s charitable arm, is to protect its coral reefs and marine biodi- versity. (In 2004, the company stopped selling coral jewelry for ethical reasons. “We just don’t think there’s any way to responsibly harvest it,” says Andy Hart, senior vice president of diamond and jewelry supply.)

The jeweler has long made transparency and social responsibility a priority. At the beginning of this year, it announced its Diamond Source Initiative, which will note the country of origin for all “individually registered diamonds” (those 0.18 carats and larger). These include the

THE ISLAND OF MAURITIUS.

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FRONT ROW C O N S E R V A T I O N

new Tiffany True diamonds, the majority of which are polished on Mauritius. While Tiffany’s commitment to preserving the island’s coral reefs technically has nothing to do with diamond production, Anisa Kamadoli Costa, the brand’s chief sustainability officer, explains that it’s all connected. “People want to bucket things in their minds: ‘This is an environmental issue; this is a social issue.’ But actually, there are very few issues where it isn’t both. If we don’t take care of oceans, we can’t take care of the local communities that live on a fishing economy.” Not to mention the nonhuman species they support. “Coral is known as the nursery of the oceans because it supports hundreds of thousands of species,” she explains. It’s no leap to imagine that damage to reefs could threaten the island’s entire future.

In 2000, the year it was founded, the Tiffany & Co. Foundation made its first grant to support coral and marine conservation. Since then, it has awarded more than $20 million in grants to the cause—funds that are sorely needed. As Kamadoli Costa points out, only 1 percent of philanthropic funding for the environment goes to the oceans, despite the fact that they cover three-quarters of the globe and play such an important role in cooling the planet and sequestering carbon.

When the company introduced the Tiffany True diamond in fall 2018, it was its first new engagement-ring cut in almost a decade. Each stone is laser-etched with a serial number that traces its provenance. Hart says this idea didn’t stem from survey data about millennials and their need for socially responsible products. “We’ve been working on this since before millennials were millennials, before they were con- suming,” he says. Next year, the company will start sharing even more about its diamonds, letting the public in on the details of the craftsman- ship process. As Hart puts it, “I’m happy to share anything about our diamonds with anybody.”

ONE OF THE MICROSCOPES USED TO INSPECT TIFFANY DIAMONDS.

THE COAST OF MAURITIUS, AS SEEN

BY HELICOPTER.

TIFFANY TRUE ENGAGEMENT

RING IN PLATINUM, STARTING AT $1,700,

TIFFANY.COM

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FRONT ROW

From bleach-splattered accents to

detergent-bottle minaudières, never have

domestic duties looked so appealing.

6 7

S.R. STUDIO. LA. CA.

1. BUCKET HAT, THE ELDER STATESMAN, $250, ELDER- STATESMAN.COM

2. DRESS, CHRISTOPHER KANE, $2,395, CHRISTOPHER KANE.COM

3. CROSS-BODY/ CLUTCH, MOSCHINO COUTURE, $1,195, SAKS FIFTH AVENUE STORES NATIONWIDE

4. GLOVES, THE ATTICO, $731, NET- A-PORTER.COM

5. SKIRT, MOSCHINO COUTURE, $1,995, SAKS FIFTH AVENUE STORES NATIONWIDE

6. CLUTCH, MOSCHINO COUTURE, $1,150, SAKS FIFTH AVENUE STORES NATIONWIDE

7. PANTS, OFF- WHITE C/O VIRGIL ABLOH, $735, OFF---WHITE.COM

8. TOP, PROENZA SCHOULER PSWL, $195, PROENZA SCHOULER.COM

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FRONT ROW T R E N D S

Black-light hues and floral accents

transform denim and evening

dresses into far-from-basic black.

EVERYTHING IS ILLUMINATED

VALENTINO

1. SUNGLASSES, GENTLE MONSTER, $320, GENTLE MONSTER.COM

2. EARRING, EYE M BY ILEANA MAKRI, $275, EYE-M-ILEANAMAKRI.COM

3. BOOT, DRIES VAN NOTEN, $910, BARNEYS.COM

4. GOWN, DELPOZO, $4,650, MODAOPERANDI.COM

5. HANDBAG, VALENTINO GARAVANI, $3,295, SIMILAR STYLES AT VALENTINO BOUTIQUES NATIONWIDE

6. TRENCH COAT, BYBLOS, $1,114, BYBLOS.COM

7. SATCHEL, MICHAEL MICHAEL KORS, $358, MICHAELKORS.COM

8. SKIRT, HERON PRESTON, SIMILAR STYLES AT HERON PRESTON.COM

9. JEANS, GERMANIER, $617, MATCHESFASHION .COM D

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Supercharge your fall look

with Gothic details and

retro-futuristic extras.

SHE’S ELECTRIC

PRADA

1. SANDAL, PRADA, $1,100, MODA OPERANDI.COM

2. EARRINGS, LYNN BAN, $4,000, LYNNBAN.COM

3. DRESS, CHRISTOPHER KANE, $2,895, CHRISTOPHER KANE.COM

4. SWEATER, ALBERTA FERRETTI, $750, BARNEYS NEW YORK

5. CANDLE, D.S. & DURGA, $65, TOTOKAELO.COM

6. PLATFORM BOOT, MARNI, $1,190, MARNI BOUTIQUES NATIONWIDE

7. PANTS, ALBERTA FERRETTI, $1,450, BARNEYS NEW YORK

8. HANDBAG, MAISON MARGIELA, $3,625, MAISONMARGIELA .COM

9. EARRINGS, BURBERRY, $450, US.BURBERRY.COM

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LUCKY MOVE COLLECTION

m e

ss ik

a .c

o m

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Creature Feature

One of the season’s most talked-about extras?

Bright, whimsical bags in the most unruly of faux fur.

HANDBAG, CHANEL, $4,900. FAUX- FUR SCRAPPY COLLECTIBLES (THROUGHOUT), HOUSE OF FLUFF, $40 EACH. PHOTOGRAPHED BY MITCHELL FEINBERG.

175

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ACCESSORIES

CLUTCH, BOTTEGA VENETA, $8,300.

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VELVET SLEEPING MASK WITH SAFFRON FLOWERS

Discover more at sisley-paris.com

NEW

Apply for a restorative and beautifying

night when skin feels dry.

COMFORTS - RESTORES - NOURISHES

Upon awaking, the skin looks renewed:

it feels comfortable, soft and radiant again.

SISLEY-PARIS BOUTIQUES LAS VEGAS • MIAMI • NEW YORK CITY

BARNEYS NEW YORK • BERGDORF GOODMAN BLOOMINGDALE’S • NEIMAN MARCUS NORDSTROM • SAKS FIFTH AVENUE

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BINX WALTON AND ANNA EWERS PHOTOGRAPHED BY JUERGEN TELLER

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BUCKET BAG, TOD’S, $1,425.

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ACCESSORIES

CLUTCH, DRIES VAN NOTEN, $390.

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LANA CONDORMELANIE LIBURD

T H E T I M E I S

NOW NIKKI REED & SHAILENE WOODLEY CONSERVATIONAL INTERNATIONAL’S DR. M. SANJAYAN, ELLE’S NINA GARCIA, AND HP’S ENRIQUE LORES

IAN SOMERHALDER

KERING’S MARIE-CLAIRE DAVEU AND NINA GARCIAMÍA MAESTRO AND MEG HAYWOODMAYE MUSKNICOLE SCHERZINGER

NIKE’S NOEL KINDER AND IBTIHAJ MUHAMMAD

GIVAUDAN’S EMILY BOND AND CONSERVATION INTERNATIONAL’S JENNIFER MORRIS

P R E S E N T E D B Y

A D V E R T I S E M E N T

To celebrate ELLE’s fi rst-ever conservation issue and the female

leaders who are actively working on behalf of the environment,

ELLE partnered with Conservation International to host the

nonprofi t’s annual fundraiser, presented by HP and Nike, held at

Milk Studios in Los Angeles. Conservation International’s CEO

Dr. M. Sanjayan and ELLE’s Editor-in-Chief Nina Garcia opened up

the evening, which honored Marie-Claire Daveu, Chief Sustainability

Offi cer of the luxury fashion group Kering, with the ELLE

Sustainability Leadership Award. Fragrance manufacturer Givaudan

was given the Global Conservation Hero Award. The work of

the people in Indonesian communities, particularly the people of

West Papua, was honored with the Global Conservation Award,

recognizing their landmark declaration making it as the world’s

fi rst Conservation Province.

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ACCESSORIES

CLUTCH, CHLOÉ, $2,190.

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BACKPACK, PRADA, $1,990.

FOR DETAILS, SEE SHOPPING GUIDE.

189

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4 7

ACCESSORIES

This season, head-to-toe diamanté

accents are a girl’s best friend.

WHITE LIGHTNING

1. HANDBAG, PACO RABANNE, $790, PACORABANNE.COM

2. NECKLACE, FENDI, $1,190, FENDI.COM

3. SANDAL, GIUSEPPE ZANOTTI, $1,995, GIUSEPPEZANOTTI .COM

4. EARRINGS, LOEWE, $350, BARNEYS NEW YORK

5. WATCH, DIOR TIMEPIECES, TO SPECIAL ORDER, 800-929-DIOR

6. SUNGLASSES, MIU MIU, $440, SUNGLASSHUT.COM

7. SANDAL, PRADA, SELECT PRADA BOUTIQUES NATIONWIDE

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These jewelers carve stunning

pieces from semiprecious stones.

ACCESSORIES

D AV I D W E B B

“I wanted to be an archaeologist, a ceramicist, or a jeweler. Jewelry

won out.”—David Webb (1975)

S Y LVA & C I E

“I love how carvings echo the past. Blending them with contem-

porary design and scale brings stones to life and creates an off- beat story.”—Sylva Yepremian

L I T O

“I love anything vintage. I found this coral fish, which was carved in Naples in

the ’60s, in a jewelry store in Capri. I gave it new life by embellishing it with

diamonds.”—Lito Karakostanoglou

DOUBLE-WRAP TENNIS BRACELET, IRENE NEUWIRTH, IRENENEUWIRTH.COM

EARRINGS, DAVID WEBB, DAVIDWEBB.COM

WIRE NECKLACE, $2,200, CHARM, $10,300, BOTH, DEZSO BY SARA

BELTRÁN, BY APPOINTMENT ONLY, DEZSO BY SARA BELTRÁN, NYC

NECKLACE, LITO FINE JEWELRY, $9,840, LITOFINEJEWELRY.COM

RING, SYLVA & CIE, $9,735, STANLEY KORSHAK, DALLAS

C A R T I E R

“Precious carved stones have been a Cartier mainstay since the early twentieth century, beginning with Jacques Cartier’s

first trip to India in 1911.” —Pierre Rainero, Director of Image, Style,

and Heritage, Cartier International

RING, CARTIER, BY APPOINTMENT ONLY, 800-CARTIER

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T O M F O R D

.C O M

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V E R S A C E P A R F U M S .C

O M

BELK DILLARD’S MACY’S

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March Forward,

From ankle-high

wellies to over-the-

knee numbers, fall’s

crop of lug-soled boots

ensures you can face

any situation in style.

1. BOOT, JACQUEMUS, $1,240, MODAOPERANDI.COM

2. BOOT, PIERRE HARDY, $845, PIERREHARDY.COM

3. BOOT, CHLOÉ, $495, CHLOE.COM

4. BOOT, THE ROW, $2,100, THEROW.COM

5. BOOT, PROENZA SCHOULER, $795, PROENZASCHOULER.COM

6. BOOT, PRADA, SELECT PRADA BOUTIQUES NATIONWIDE

7. BOOT, SPORTMAX, $925, SPORTMAX.COM

8. BOOT, BOTTEGA VENETA, $1,150, BOTTEGAVENETA.COM

T H

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The brand is also a longtime supporter of supermodel—and Cannes habitué—Natalia Vodianova, helping underwrite her Love Ball and Fabulous Fund Fair, marquee events for Vodianova’s Naked Heart Foun- dation. This summer marked the launch of Chopard’s Happy Hearts Collection of necklaces and earrings, with a portion of profits also ear- marked for the foundation. “Chopard is a house with an incredibly big heart,” Vodianova says.

As a friend of Chopard, the supermodel was happy to return the favor during this year’s film festival by donning the jeweler’s latest daz- zlers, the 2019 Red Carpet Collection amethyst and titanium earrings. They were created using a new technique, which involves thinly pol- ishing and anodizing the titanium so that it diffracts light, creating the illusion that it matches the color of the gemstones. Given all the good that the brand is doing, the festivities on the French coast proved even more stellar.—Naomi Rougeau

IN CANNES, VODIANOVA (LEFT)

WEARS CHOPARD’S RED CARPET COLLECTION

AMETHYST AND TITANIUM CHANDELIER

EARRINGS AND HAUTE JOAILLERIE

COLLECTION DIAMOND CUFF; RED

CARPET COLLECTION CHANDELIER

EARRINGS (BELOW) IN TANZANITE AND

TITANIUM.

ver the last few decades at Cannes, the covetable baubles of Swiss jewelry house Chopard have become synonymous with the glamorous stars who walk the red carpet. (In fact, the brand bedecks so many of them that it commandeers the

entire top floor of the Hôtel Martinez for the week of the festival, going so far as to bring in its own furniture.) But what’s less well-known is that Chopard has also been crafting the Palme d’Or trophy (now made of rock crystal and fair-mined gold) since 1998, when it was rede- signed by Caroline Scheufele, the brand’s current creative director and copresident—and that at the center of all the glitz, glamour, and inno- vation lies a philanthropic heart.

Chopard once again lights up the

Cannes Film Festival, this time with a little

help from supermodel Natalia Vodianova.

GLAM SQUAD

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No refined fall ensemble is

complete without a pint-

size, polished top-handle.

The Lady Bunch

SALVATORE FERRAGAMO

1. HANDBAG, GIVENCHY, $2,290, SIMILAR STYLES AT GIVENCHY, NYC

2. HANDBAG, CELINE BY HEDI SLIMANE, $3,750, CELINE.COM

3. HANDBAG, CHLOÉ, $2,650, BLOOMINGDALE’S STORES NATIONWIDE

4. HANDBAG, FENDI, $1,490, FENDI.COM

5. HANDBAG, LOEWE, LOEWE.COM

6. HANDBAG, JIMMY CHOO, $995, JIMMYCHOO.COM

7. HANDBAG, GUCCI, $3,200, GUCCI.COM

8. HANDBAG, MIU MIU, $1,950, MIUMIU.COM

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A M S T E R D A M PA R I S L O N D O N N E W YO R K R I T U A L S . C O M

Fill the air with our signature fragrances

and create your own personal sanctuary.

Discover the luxury Home Collection by Rituals.

Designed to help you truly relax and unwind.

H O M E C O L L E C T I O N

made to make you feel good

P R

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Behold: the

five most

directional

toppers to

carry you

through fall

and winter.

U n

d e

r C

o v e

r MODEL GRACE ELIZABETH BACKSTAGE AT LANVIN.

G R

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Add bold prints to

your everyday.

Flutter-sleeve

mockneck top

available in sizes

XS-XXL in store

and at Kohls.com.

Sale $24.99

Orig. $36.

ELLE™ is a trademark owned by

HACHETTE FILIPACCHI PRESSES SA, Paris, France.

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SHOPS

Cozy shearling goes

full hygge with an oversize silhouette.

SOFT LANDING

W e a r I t W i t h

Jewel-toned

accessories pop

against a neutral

backdrop.

SALVATORE FERRAGAMO

COAT, BOONTHESHOP COLLECTION, SIMILAR STYLES AT MODA OPERANDI.COM

COAT, BRUNELLO CUCINELLI, BRUNELLO CUCINELLI.COM

COAT, ROKH, $3,310, SIMILAR STYLES AT MODA OPERANDI.COM

CROSS-BODY BAG, DOONEY & BOURKE, $198, DOONEY.COM

BOOT, PARIS TEXAS, $825, FWRD.COM

NECKLACE, DADYBONES, $112, DADY BONES.COM

SLOW DANCE EAU DE PARFUM, BYREDO, $260, BYREDO.COM

SKIRT, ESCADA, $2,471, ESCADA.COM

COAT, SAKS POTTS, $1,420, SAKSPOTTS.COM

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Crayola hues shake up

classic menswear shapes.

SATURATION POINT

W e a r I t W i t h

A palette like this

calls for artsy

add-ons and

bold prints.

TORY BURCH

COAT, ZADIG & VOLTAIRE, $1,148, ZADIG-ET- VOLTAIRE.COM

COAT, BCBGMAXAZRIA, $298, BCBG.COM

COAT, HARRIS WHARF LONDON, $520, NEIMAN MARCUS STORES NATIONWIDE

JACKET, ST. JOHN, $1,995, STJOHN KNITS.COM

EARRINGS, GRAINNE MORTON, $970, GRAINNEMORTON .CO.UK

DRESS, MICHAEL MICHAEL KORS, $78, MICHAELKORS.COM

KEY RING, FURLA, $118, FURLA.COM

ROUGE PUR COUTURE LIPSTICK IN ROSE STILETTO, YSL BEAUTÉ, $38, YSLBEAUTYUS.COM

PUMP, AGL, $555, AGL.COM

S A

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SHOPS

GIVENCHY

Tweed is a fail-safe

fall staple. The 2019

upgrade? Subtle fringe

and contrast trim.

IN GOOD TASTE

W e a r I t W i t h

Slits and slick

surfaces sex up a

conservative coat.

HANDBAG, KATE SPADE NEW YORK, $478, KATESPADE.COM

EARRINGS, GIVENCHY, $970, GIVENCHY, NYC

COAT, SEVENTY, $1,129, RUTH SHAW, TOWSON, MARYLAND

COAT, POLO RALPH LAUREN, $798, RALPHLAUREN .COM

TRENCH COAT, TORY BURCH, $798, TORYBURCH.COM

COAT, ROSIE ASSOULIN, $2,695, ROSIE ASSOULIN.COM

PLATFORM, SAM EDELMAN, $170, SAM EDELMAN.COM

SKIRT, TIBI, $465, TIBI .COM

BLOUSE, MSGM, $405, MSGM.IT

G IV

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SHOPS

Embrace the future in

gleaming, astronaut-

worthy down.

FLASH

W e a r

Age with a

OFF-WHITE

COAT, HERNO, $1,025, HERNO, NYC

COAT, DKNY, $400, SELECT DKNY STORES NATIONWIDE

COAT, FABIANA FILIPPI, $3,110, FABIANAFILIPPI .COM

COAT, YVES SALOMON, $3,750, YVES- SALOMON.COM

HOOP EARRINGS, SOPHIE BUHAI, $200, SOPHIE BUHAI.COM

SKIN CAVIAR LUXE CREAM, LA PRAIRIE, $920, LAPRAIRIE.COM

SNEAKER, GOLDEN GOOSE, $385, EXCLUSIVELY AT SSENSE.COM

BOILERSUIT, AG, $298, AGJEANS.COM

NOISE- CANCELING HEADPHONES, BOSE, $400, BOSE.COM

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W e a r I t W i t h

Look disco-

ready in python

platforms and

high-waisted

denim.

STELLA MCCARTNEY

Let loose with

’70s shapes and

patchwork details.

FAUX MO

CROSS-BODY BAG, BALLY, $1,350, BALLY.COM

EARRINGS, SIMONE ROCHA, $295, SIMONE ROCHA, NYC

AVIATORS, CELINE BY HEDI SLIMANE, $500, CELINE, NYC

BOOT, LONGCHAMP, $1,080, LONGCHAMP .COM

JEANS, LEVI’S, $98, LEVI.COM

COAT, NILI LOTAN, $1,695, NILILOTAN.COM

COAT, DENNIS BY DENNIS BASSO, $275, QVC.COM

COAT, MARCIANO, $298, SIMILAR STYLES AT MARCIANO.COM

COAT, ALICE + OLIVIA BY STACEY BENDET, $595, ALICEANDOLIVIA.COM

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Before After

Collagen-infused formula. Iconic mega brush.

the

COLOSSAL Mascara

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BEAUTY

For the Christian Siriano look: MAYBELLINE NEW YORK FACESTUDIO MASTER STROBING STICK ILLUMINATING HIGHLIGHTER IN IRIDESCENT ($10)

Models dazzled at Christian Siriano, thanks to dozens of Swarovski crystals dotted across the skin. “I placed them organically, scattering them until I thought it was beautiful,” says makeup artist Erin Parsons, who was inspired by the beauty marks of 1950s film star Dorothy Dandridge. Parsons finished with four layers of blue mascara for lush-looking eyes. Occasionally, function even followed form: “If the model had a pimple, I would cover it with a crystal.” Now that’s rich.

RUN WAY TO ELLE WAY Fall’s most powerful

beauty trends

are anything but

middle-of-the-road.

By Erin Reimel

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CHANEL

COURRÈGESVIVETTA

For the Vivetta look: COVERGIRL EXHIBITIONIST

MASCARA IN TRUE BLUE ($8)

BEAUTY

B I G FA N S A simple blink spoke volumes this season with statement lashes that varied from metallic to colorful to ultra-exaggerated. Makeup artist Giulio Panciera created vibrant, two-tone eyes at Vivetta by contrasting shades of pink, blue, or yellow on top with stark white on the bottom. To make the color pop even more, Panciera opted for “no lips, no brows, no contour—just dewy,

I N T H E D E E P Lips in subversive dark reds and hints of black had both the glamour of vintage cinema and the edge of Lorde. At Alice + Olivia, Parsons painted a reverse ombré that she dubbed the “blooming rose lip.” She rimmed lips with blackberry liquid lipstick, using the pointed tip of the applicator for precision, and filled in the center with a

glossy skin.” Makeup artist Tom Pecheux took a more classic approach at Brandon Maxwell by applying black mascara on top and bottom lashes to build up volume for a Twiggy-like effect. How many coats? “A lot! After a while, I stopped counting,” Pecheux says. He then used a small brow brush to add strokes of mascara to the skin under the eye for the illusion of extra lashes.

brighter crimson. The vampy vibes continued at Chanel, where global creative makeup and color designer Lucia Pica gave models stark but glowing skin before topping matte burgundy lipstick with a black-cherry gloss. “The skin is healthy and polished,” Pica says. “The shiny black mouth and slight contour are a take on a ’20s heroine.”

S H O P T H E S H O W S

For the Alice + Olivia look: MAYBELLINE NEW YORK

SUPERSTAY MATTE INK CITY EDITION IN COMPOSER AND MATTE

INK IN PIONEER ($10 EACH)

For the Chloé look: GIORGIO ARMANI BEAUTY

LIP MAESTRO MATTE NATURE LIQUID LIPSTICK IN #601 ($38)

For the Brandon Maxwell look:

YSL BEAUTÉ MASCARA VOLUME EFFET FAUX CILS IN HIGH

DENSITY BLACK ($29)

R U N WAY TO E L L E WAY: M A K E U P

BRANDON MAXWELL

BYBLOS GIAMBATTISTA VALLI

DIOR

YOHJI YAMAMOTO ALICE + OLIVIALOUIS VUITTON PACO RABANNE

JUNYA WATANABE

CHLOÉ JONATHAN SIMKHAI

J O

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A I:

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/G E

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BEAUTY

C H O P, C H O P A wave of models traded long layers and lobs for pretty pixies this season. “It’s a power move,” says hairstylist Teddi Cranford, who cuts hair for models in New York City. “It’s great when you’re at a point in your life where you’re feeling cool and confident—you want to make a statement.” Eugene Souleiman styled faux crops at

X X L H A I R Afro curls, retro wigs, and disco-inspired volume confirmed the motto for the season: Bigger is absolutely better. At Michael Kors, stylist Orlando Pita created mini waves with lots of body by wrapping hair in one-inch sections around the arms of U-shaped hairpins, figure eight– style. He clamped a flatiron over each pin to set the waves before unraveling them and brushing out the hair. To make it

Thom Browne for a look he describes as “the gentlewoman.” For a boyish yet polished effect, he created a deep side part and blow-dried hair with a vented brush for lift at the crown. To hide the hair’s length, he braided it down the back. “A lot of women are wearing their hair shorter. It’s very liberating and feels fresher,” Souleiman says.

modern, Pita kept the top of the hair flat. “Waves today don’t start at the root,” he says. “That was more the feel in the ’70s. This is something that can be worn now.” Stylist Gary Gill opted for a crimped effect at 3.1 Phillip Lim. He divided dry hair into eight sections and applied mousse before braiding it tightly and briefly blow-drying it. He then used a flatiron on the crown to seal in the style before brushing it all out.

S H O P T H E S H O W S

For the Michael Kors look:

ORLANDO PITA PLAY BODY BREAKTHROUGH

VOLUME BOOSTING

Lim look: TRESEMMÉ TRES TWO

EXTRA HOLD MOUSSE ($5)

For the Fendi look: LARRY KING A SOCIAL LIFE

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For the Thom Browne look:

WELLA EIMI TEXTURE TOUCH ($15)

R U N WAY TO E L L E WAY: H A I R

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1. YSL Beauté Vernis A

Levres Water Stain in Nude

Underwater ($37) One layer of this lip stain gives a pretty wash of color, but two becomes saturated and glossy. The 18 shades feel ultralight thanks to a formula that’s up to 40 percent water, and range from deep berry to light coral.

2. Gucci Mémoire d’Une

Odeur ($120) Alessandro Michele’s retro-fantastic aesthetic is reshaping Gucci beauty, including this new juice with chamomile, jasmine, and a nostalgic musk finish.

3. Pai Light Work Rosehip

Cleansing Oil ($56) Oil cleansers break down makeup best—no scrubbing required—but organic versions often leave a residue. This new rose hip oil–based formula is an exception, removing makeup (minus the usual detergents) and rinsing away without a trace. Plus, it smells like a lush flower garden.

4. Together Beauty Rebel

Rebel 99% Natural Shaping

and Molding Paste ($26) The list of what is not in this new hair-care line, like phthalates and synthetic fragrances, is impressive. Even more remarkable: the styling cream’s weightlessness. Candelilla and carnauba (both wax- producing plants) add flexible hold to any hair type, while rose hip oil hydrates.

5. Tatcha The Silk Peony

Melting Eye Cream ($60) Once you get over the addictive butter-like texture, you’ll fall for the immediate payoff of the dark circle– brightening glow. Then you’ll stick with it for the cushiony texture that keeps skin supple thanks to silk extracts.

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She redefined beauty in the ’70s and

fought for fair pay for models. Now

the gap-toothed icon is taking on ageism

in a new campaign. By Kate Foster

BEAUTY

VENICE

NOVEL TRAVELING

AGE

LAUREN HUTTON

YOUR FIRST WORD IS…

“Home is where the heart is. It’s base camp when I’m not traveling. My home is usually in New York City, but in the winter—so I don’t get pneumonia—it’s Venice.” [Laughs]

“Right now I’m reading The New Silk Roads by Peter Frankopan, which is about each age of civilization—how we became tolerant and stopped being frightened village folk. It starts in the Persian Empire, then— whoosh!—it goes everywhere.”

“When it comes to beauty routines, I use a lot of coconut oil. I don’t often take showers. I don’t take baths. If you’re someplace good, like the Kalahari Desert, you don’t take anything, because you can’t afford the water. But after a month or so, your skin has never ever been better. Though you do have to shower if you live in a big city, since there are so many pollutants.”

“I haven’t [traveled] in the past few years because

my mom is sick, but next I want to go to all the ‘stans’:

Tajikistan, Uzbekistan, all of them. And New Zealand

seems beautiful. I love the history, and history in

general. History is really just a dramatic novel.”

“Well, you get a tiny shot to grow up and get wise,

which is pretty wonderful. And you probably won’t

recognize [your wisdom], though others might. Also, as I’ve gotten older, sleep

has become just about the best thing in my ritual.” RITUAL

}

} }

}

S T A R T

“The definition of beauty as ‘inside and out’ is finally be- coming more true,” says Lauren Hutton. “We’re seeing that beauty is in all shapes, sizes, colors, and ages.” What Hutton (humbly) fails to mention: She was a mother of the movement. Decades before Slick Woods flashed her trademark smile, Hutton flaunted hers in ground- breaking campaigns for Chanel and Revlon and films like The Gambler and American Gigolo. Nearly 50 years later, she’s at the forefront again as the face of skin-care brand StriVectin. “How many beauty companies ask a 75-year-old to head a campaign?” she says. It’s just an- other breakthrough under her belt.

Below, Hutton shares more in our debut word- association interview.

E L L E W O R D

“ I L I K E A

L I T T L E W A S H

O F N AT U R A L

C O L O R O N

T H E L I P S .”

FROM TOP: CLINIQUE ALMOST LIPSTICK IN BLACK HONEY, $19, CLINIQUE.COM. STRIVECTIN S.T.A.R. LIGHT RETINOL NIGHT OIL, $99, STRIVECTIN.COM.

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BEAUTY

HIDE PORES

effect makes skin appear more even without looking like makeup.

penetrating, and the skin tightens beneath,” Stangl explains.

in an hour, according to the company’s clinical testing.

Patience is a virtue, but must it apply to

your complexion? Katie Becker finds a new class

of beauty products with a need for speed.

Instant Skin Care

S K I N T E L L I G E N C E

f only skin-care prod- ucts could promise same-day delivery on their results. Alas, pros say a topical formula with active ingredi-

ents takes about four weeks for effects like wrinkle smoothing and spot fading to be noticeable. “Twenty-eight days is a good rule of thumb,” says Australia-based chemist and writer Michelle Wong, PhD. “It takes around two weeks for the upper layer of skin to turn over, and around 48 days for the entire epidermis.” Still, the age-old desire for younger skin in a snap has inspired treat- ments that range from yester- year’s at-home egg white masks that dry into a shrink-wrap-like layer (and last until you smile) to today’s injections that fill sag- ging skin in a quick office visit (though a pricey and sometimes painful one at that). With instant gratification now available in al- most every other industry, from Seamless orders to online talk therapy, cosmetic chemists are fine-tuning creams and serums that fall into that magic zone: of- fering immediate and noticeable, albeit temporary, benefits.

“Everyone wants to look 10 years younger in five minutes,” says Daniel Stangl, PhD, direc- tor of innovation for La Prairie. “This is not realistic, but there are a few immediate effects you can provide with a cosmetic prod- uct, such as tightening films and photo-reflective pigments so you get the glow.” This month, La Prairie launches an eye se- rum that not only improves skin over time but firms it in minutes thanks to nonsticky, glue-like saccharides that flex with move- ment yet stay taut. Other new instant tighteners on the market include Orveda Biotic Full Eyes Duo ($98), which uses oat pro- tein, and StriVectin Hyperlift Eye Instant Eye Fix ($49), which uses minerals and clay. Also hitting the shelves are pore-disguising lotions that trick the eye, and redness reducers that calm a flushed face fast. Not yet invent- ed is skin care that replaces that aforementioned talk therapy, but it’s probably just a matter of time.

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WORK TO PLAY ELLE.com’s senior beauty editor Kristina Rodulfo wears many hats: writer, editor, video producer, trend forecaster, and beauty product guinea pig, just to name a few. Armed with a bold and bright smile thanks to Crest 3D White�DQG�NLOOHU�FRQğ�GHQFH�WR� match, Kristina takes us on a tour of her ultra-packed day.

CONFESSIONS FROM MY DESK I oversee all beauty content across ELLE’s digital media platforms. I do everything from writing and editing to being an on-camera host for our YouTube series “Beauty Haul” (so a bright white smile is a must). I spend my days identifying trends, testing products, and interviewing sources. I try everything so you don’t have to.

FLASH A SMILE I always want to put my best face forward, and having a bright VPLOH�GHğ�QLWHO\�ERRVWV�P\�FRQğ�GHQFH��,�DGPLWWHGO\�KDYH�DOZD\V� been self-conscious about my smile and never used to smile showing my teeth. I made the choice to whiten my teeth so that I would feel IHDUOHVV�LQ�P\�VPLOH��QRW�IRU�WKH�DSSURYDO�RI�DQ\RQH�HOVH��1RZ�,�Ġ�DVK� my pearly whites wide with pride thanks to Crest 3D White.

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7PM SWEET ENDINGS Finding a work-life balance is GLIğ�FXOW� because there is not much separation between the two. My job often continues DIWHU�KRXUV��EXW�,�DOZD\V�WU\�WR�ğ�QG�WLPH� WR�GH�VWUHVV��0\�GHğ�QLWLRQ�RI�ŃSOD\ń�LV� giving yourself time to do what you enjoy unapologetically. At the end of the workday, I love meeting up with a close friend to grab dessert. I have such a sweet tooth, so nothing delights me more.

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hen New York City– based writer Alix Tunell turned 28, she treated herself to a cosmetic pro- cedure she’d been con- sidering for years. “My chin was weak, and I had

two little fat pockets [hanging from my jawline] that I would constantly edit out of photos as soon as Facetune became available,” she says. “I just felt my side profile wasn’t strong.” So she visited a well-regarded plastic surgeon on the city’s Upper East Side and, under sedation,

BEAUTY

One of the most notoriously difficult areas to

rejuvenate is the latest fixation of doctors and the

selfie generation alike. By Cheryl Wischhover

Jawlines Victoryof

had the fat removed with liposuction. In the months following, she’s had doctors use ad- vanced Botox and filler techniques, off-label, to continue sculpting that elusive photogenic mandible. Her results are subtle but fit the bill. “I don’t really Facetune it as much anymore,” Tunell says. “And I don’t feel like I need to work on my angles so much in photos.”

While getting any of these treatments pre-thirties may seem objectively young, Tunell is not alone in her fixation on the area once reserved for chiseled actors and Disney princes. Ava Shamban, MD, an L.A.-based

W dermatologist and assistant clinical professor of dermatology at the UCLA-Geffen School of Medicine, says the jawline is the hot area in aesthetics right now. “Part of that has to do with the fact that we’ve corrected so many of the other issues,” she says. Now that everyone has smoothed their frown lines and filled their smile lines, we’re looking lower down on our faces. The trend is now so mainstream that major injectable companies have invested mil- lions to get their products FDA-approved for the area, though doctors have been using them off-label for years for this purpose.

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S H A R P E N Y O U R J AW L I N E AT H O M E

THE TOOL

This rolling device looks like a space-age twist on a medieval weapon, but the massaging tongs can help relax tense muscles in the jaw, encourage lifting of the skin, and release puffiness from water retention.

THE SERUM

Inspired by the defined, V-shaped jawline coveted in Asia, this lightweight liquid formula has peptides that help skin stay taut, plus a ferment that dries and tightens laxity in 30 minutes.

THE CREAM

One side of this dual- chamber jar plumps

skin with moisturizing hyaluronic acid,

while the other contains a resculpting formula

with a network of polymers that firm superficial sagging.

THE SPLURGE

The Japanese luxury brand’s iconic Synactif

products stimulate lymphatic drainage, which can smooth a sagging jawline. The

range’s first neck cream does this with

the help of a pretty golden massage tool.

SARAH CHAPMAN SKINESIS THE FACIALIFT ($38).

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CLÉ DE PEAU BEAUTÉ SYNACTIF NECK AND

DÉCOLLETÉ CREAM ($435).

Botox’s manufacturer, Allergan, is seek- ing FDA approval to relax masseter muscles (chewing muscles that can make the jaw look boxy) and platysmal bands (neck cords that can pull down the jawline). It also produces Juvéderm Volux, a new hyaluronic acid filler with a thicker consistency specifically for- mulated for the jawline and chin. Volux was approved in the UK and some other parts of Europe and should eventually hit the U.S. Allergan also plans to start studies using its fat-dissolving injectable Kybella in the jowls (it’s already approved for under the chin), and its competitor, Merz, is conducting studies on its Radiesse filler for the jawline.

The causes of what Shamban calls a “jeck” ( jawline plus neck) tend to vary by age. In younger women, it’s due to a lack of bone or volume underlying the midface, jawline, or chin. In older women, the same condition is caused by the breakdown of elastin and loss of fat and bone. Facial tissue isn’t supported structurally, and it manifests as the dreaded jowls, loose skin under the chin and on the neck, and a less-defined jawline.

But it’s a much trickier area to address be- cause of its location and anatomy, which is rich in nerves and blood vessels. Treatment usual- ly involves multiple approaches at once, like lasers, tightening with heat, and injectables— plus a healthy dose of realistic expectations. A necklift or facelift after 50 is still the gold standard. Regardless, an experienced doctor or practitioner is a must.

If you go the injectables route, filler is the workhorse, often used in the midface or outer edges of the face before the jawline itself. For instance, “there’s a large fat pad toward the ear. When it deflates, it causes the face to sink in or fall forward,” says Lisa Goodman, a phy- sician assistant and the founder of GoodSkin clinics in L.A. and New York. After treating these neighboring zones, filler is injected deep into the dermis along the jawbone only if needed.

As for which filler exactly, it will depend on the results you expect—and how quickly you want them. Juvéderm Voluma XC and Restylane Lyft are hyaluronic acid–based, which means they can be reversed, but are temporary, lasting between one and two years. Radiesse, made of calcium hydroxylapatite, isn’t immediately reversible but can stimu- late collagen production for firming that lasts up to 18 months. All these fillers are similarly dense—best for the jaw area—and all can give fast results. Filler generally costs $1,000 to $1,300 per session.

Removing fat below the chin and in the jowls is another way to slim the face and make the jawline pop. Ultherapy and Kybella, which use ultrasound and a fat cell–killing chemical, respectively, are both approved for use on a so-called double chin. But some doctors question their utility on more than

a tiny amount of laxity, as they might not be aggressive enough to effect bigger changes. (Also, Ultherapy and Kybella can both be expensive, starting at $1,000 for Kybella and $2,500 for Ultherapy.)

This might be when a plastic surgeon steps in for liposuction or removal of the buccal fat pad, a walnut-size bump in the lower cheeks. The buccals “hang down in the jowly area. Imagine a hound dog or a really chubby in- fant,” says Lara Devgan, MD, a plastic sur- geon in New York City who demonstrated the 15-minute procedure on her Instagram re- cently, deeming it #oddlysatisfying. Buccal fat removal involves a tiny incision in the mouth and requires little downtime. “It’s a popular procedure among the celebrity and model set because it creates a more chiseled-looking face,” Devgan says. “There are no visible scars, and no one will ever know you did it.” Below- the-chin liposuction and buccal fat removal cost anywhere from $8,000 to $12,000, but results are permanent.

Possibly the biggest innovation for the jawline in recent years is an update on an old technology: dissolvable threads that can be woven under your skin, lifting up your jowls like an internal marionette, with results last- ing from one to three years. There are two types of threads FDA-approved for lifts, which are similar to the dissolvable sutures used in surgeries. Internal barbs or cones along the threads lock them in place, and the treatment can potentially stimulate collagen, ostensibly offering both immediate and long-term lift. It costs around $3,000 and up for a treatment.

But, as one might expect when you pic- ture such a treatment, complications can be troublesome and results so unimpressive that there is now a stark division among experts about whether they should be used at all. “I think that thread lifts are totally overblown and that they don’t work or create a lasting effect,” Devgan says. A 2018 study in Aesthetic Surgery Journal found that 34 percent of a 160-patient cohort experienced some sort of complication, ranging from redness to the threads becoming displaced.

Goodman says threading is extremely pop- ular at GoodSkin. But, she acknowledges, “It is maybe the most technique-dependent result ever. We’ve had every issue you can have with them and learned the hard way, then sought out training from Korean plastic surgeons.” She says that her clinic’s thread type and technique, which involves fixing the threads to the scalp, can last for a year or longer.

Choosing threads does take some gump- tion. In 2017, a woman reportedly fainted in the audience after watching a demo of the jaw-dropping (ahem, jaw-raising) procedure at the first Goop conference in L.A. Not an unfair response. As far as Tunell’s further pursuit of a sharper profile: “I feel like I’ve finally reached the end of the line with this.” PO

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BEAUTY N E W S

FLORAL STREET WILD VANILLA ORCHID EAU DE PARFUM, $75, SEPHORA.COM

YOUR GARDEN GROWS

Fall feels like spring with gorgeous

flower-focused products in bloom.

By Katie Becker

Two years after debuting in the UK with a boutique in London’s upscale Covent Garden, fragrance brand Floral Street is launching stateside. Its nine scents come in colorful botanical bottles seemingly tailor- made for Instagram—and with its biodegradable outer packaging and $75 price tag, the stage is set for plenty of fanfare. No surprise, perhaps: Floral Street founder Michelle Feeney has been credited with making M.A.C, La Mer, Bumble and bumble, and St. Tropez the coveted brands you know today thanks to her business smarts (she’s the one who launched La Mer with a waiting list back in 1994). While the pretty photos printed on the bottles nod to the scents within, only insiders will know that the juices were created by famous nose Jérôme Epinette, the same perfumer behind cult-loved fragrances from Atelier Cologne, Vilhelm Parfumerie, and Byredo. Highlights from the collection include London Poppy, a bright citrus and jasmine that is unquestionably happy, and Chypre Sublime, a moody blend of incense, geranium, and rose that will keep you sniffing your wrist for hours.

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FLORAL STREET IRIS GODDESS EAU DE PARFUM, $75, SEPHORA.COM

Ever notice how a perky bouquet of tulips flops lazily over the edge of its vase by morning? This is partially because tulip stems continue to grow after they’ve been cut. To investigate what those life-after-death superpowers could potentially do for one’s complexion, the creators of new skin-care brand Bloomeffects partnered with a Dutch tulip farm (the same one that supplies the British royal family), sending the bulbs to Universiteit Leiden in Holland. Researchers discovered that the plant’s hormone auxin, which promotes the growth of the stem, can do the same for the collagen in your skin—plus its natural humectants lock in moisture. After two years of formulation, the brand’s four products—a hydrating balm, scrub mask, cleansing jelly, and lip tint—launch this month. The quirky jelly- and honey-like textures may remind you of Korean skin care, but the glow imparted by the Royal Tulip Nectar, an ointment that melts as you apply it, will make you look like you’ve bounded gleefully through flower fields in the Dutch countryside.

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BLOOMEFFECTS DUTCH DIRT MASK, $49, BLOOMEFFECTS.COM

BLOOMEFFECTS ROYAL TULIP

NECTAR, $65, BLOOMEFFECTS.COM

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I R I N E L

D E L E Ó N

@hairinel Celebrity hairstylist

“For loose curls, I like to prep dry hair with hair spray and brush it through before curling one-inch sections in alternating directions with the Formawell Beauty x Kendall Jenner One Inch Curler ($79). The temperature can be adjusted for different hair types. I keep it below 300 degrees for chemically treated hair; between 320 and 380 degrees for thin or wavy hair; and between 360 and 450 degrees for curly or coarse hair. After it’s all curled, I let it cool and run my fingers through before adding pomade to the ends.”

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@anhcotran Celebrity hairstylist

“The Hot Tools 1-Inch 24K Gold Marcel Iron/Wand ($50) has two handles that swivel to allow more control. The tightness of the curl changes depending on how hard your grip is. Right now my go-to style is what I call the ‘Nu Wave,’ a softer version of beachy waves. I create it by lightly clamping down on the hair and flipping the iron back and forth to make U-shapes rather than wrapping the hair around the barrel. You can also roll the iron while holding it parallel to the floor for classic Hollywood curls, or diagonally for a more lived-in style.”

E S T É E

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@esteelalonde Beauty vlogger and

podcast host

“I normally prep my wet hair with mousse, then use the dryer attachment on the Dyson Airwrap Styler Complete ($550). Then I swap it out for the 1.6-inch curling barrel to add texture and volume. Holding one section of hair at the end, I place it close to the midsection of the barrel, and the high- speed airflow instantly whisks it around the barrel, creating a curl in the hot hair. It’s magical! I’m amazed every time.”

BEAUTY

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BEST CURLING IRONS

The biggest names in hair swear by

these wands for spirals, waves, and body.

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your hair.

the summer

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Toxic masculinity

doesn’t hurt

just women. Men

are drowning in

mixed messages

and, it seems,

losing the women

at their sides.

Liz Plank reports.

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E L L E N E S S BEAUTY

t had no name, but it was everywhere. I would hear about the crisis affecting men and women’s intimate relationships wherever I turned. I saw it in my group texts with women, in the conversations I would overhear in coffee shops, and even on my Instagram feed. Women had always complained about difficulties in their romantic relationships with men,

but something felt different. Suddenly it seemed like women were done. They had put up with men who were emotionally inconsistent or unavailable for too long. They were desperate to love men, but accord- ing to them, men had become impossible to love. Men were frustrated, too. The women in their lives were asking them to be more sensitive in private, but men were still expected to hide the fact that they were even capable of having feelings in pub- lic. Their girlfriends were telling them to open up, but society was still telling them to “man up.” They didn’t know which man to be and, honestly, I didn’t blame them.

One friend left her husband be- cause he would tune out and watch television every night, refusing to go on a date or to couples therapy. Another left because he had hid- den a drug problem from her and, once found out, refused to get help. One husband refused to take anti- anxiety medication. He was of- fended it had even been prescribed. These were more than emotional problems. These women were left dealing with their husband’s unre- solved mental health issues.

“Depression in men often doesn’t look like depression in women,” journalist Julie Scelfo told me. She’d begun studying the issue nearly two decades earlier. “It man- ifests itself in other ways, like anger, drug use, or alcoholism.” In 2007, she wrote a lengthy cover story for Newsweek on men and depression. One conclusion she’d reached was that men were suffering from mental illness but were unaware of it. She’d been intrigued by a study undertaken by Michael Addis at Clark University in Massachusetts in response to the fact that men were reluctant to admit they were depressed. Instead of advertising support groups for those “suffering from depression,” researchers told her they’d hung up signs describing a meeting designed to help with “the stresses of living.” The result? Men from all walks of life showed up in droves. “Men don’t admit they are depressed,” Scelfo said. “But stress doesn’t have the same negative connotations.” In other words, for many women, their relationship problems were actually undiag- nosed mental illness.

Many women said that when they tried to bring this up, men would either get angry or shut down. “The only time I could get him to have a real conversation was after he had had a few drinks,” one woman told me. All these different women’s stories sounded eerily familiar. In fact, I kept hearing the same thing over and over again. Men were experienc- ing emotional and, in some cases, mental health turmoil and didn’t have the language to understand, let alone talk about, it with their partners. The male code has instructed them to keep it all on the inside, and that’s exactly what they were doing.

I call this crisis “the great suppression.” Men grow up disowning their emotions. It’s a kind of emotional estrangement so pernicious and so embedded in the way we raise them it’s almost invisible until it’s too late. No wonder men aren’t able to manage their feelings: As boys, they’re taught that they don’t have any. Emotional expression and management is a crucial skill men aren’t taught. In fact, boys who show it get reprimand- ed. Boys don’t cry. Be strong. Don’t let him know it hurt you. If you like her, pull her pigtails. Of course, when you don’t share your feelings, they don’t simply go away; they just come out in different ways. Research by clinical psychiatrist Jeroen Jansz from the University of Amsterdam found that

it’s not that men don’t have as many emotional abilities, but rather that they don’t practice them as often as women. He breaks down modern masculinity into four components— autonomy, achievement, aggression, and stoicism—and concludes that stoicism particularly encourages a disconnection from feelings, vul- nerability, and pain, which increases the disconnection from emotion- al states for men. Jansz’s research shows that this blocked emotional state has disproportionate impacts on men’s health. And now that their female partners are no longer will- ing to do men’s emotional labor for them, it’s costing them their rela- tionships, too.

What women are asking for from men is pretty simple: emotion- al labor. A study from the University of Virginia examined 5,000 hetero- sexual couples and found that this skill set in men led to the most sat- isfied women partners. Researchers found that a woman’s happiness in a marriage is correlated with how much “emotional work” her hus- band performs. Feeling understood and emotionally connected to her husband was the strongest predic-

tor for a woman’s level of marital satisfaction. But for many women, that just wasn’t happening in their relationships or marriage. And while many of their mothers had put up with their partner’s unwillingness to address their emotional turmoil and take responsibility for their mental health, this generation of women was beginning to wonder why they should. Women were walking away from emotionally abusive and deficient relationships because, for the first time in history, they could. Women are more educated and more employed today than at any other time in history. Single women without children have the smallest wage gap with men, although women of color still make far less than white women. The more independent women become, the less likely they are to tolerate relationships that don’t meet their needs.

While women are demanding that men be more emotionally fluent, men are still receiving a very different message about their role in the dating world. In my many years of sipping frighteningly overpriced vodka sodas in the company of questionable yet carefully selected members of the straight-male community, I’ve noticed several interesting trends, like our collective insistence on one gender paying for the other gender as an ultimate sign of respect. I’m not exactly sure when we all agreed that men who are on dates with women should foot the bill, but I know for a fact that it wasn’t when women were allowed to have opinions or credit

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Fall Preview

T H E R E V E L AT I O N : J O D I E T U R N E R - S M I T H

n 2009, British actress Jodie Turner-Smith was on a corporate conveyor belt, sliding toward a career in (surprise!) banking. She’d just graduated from the

University of Pittsburgh, armed with a finance degree and an entry-level job. But at mixers, when her colleagues raised their glasses to 30 years at the company, “a little part of me was dying inside,” she says. She quit the gig, and honestly, lucky us. Because this Thanksgiving weekend, she stars in the hotly anticipated Queen & Slim, the first feature-length film from Emmy-winning screenwriter Lena Waithe and director Melina Matsoukas (Beyoncé’s Formation video). When the titular characters (Turner- Smith and Get Out’s Daniel Kaluuya) are pulled over by a white policeman, the cop ends up dead, and the duo goes on the run. “This is a fantasy story in many ways, the idea of black people getting away with [murder] for even one minute,” she says. “But it’s also about the reality of black trauma.”—BRIANNA KOVAN

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T H E L E G E N D : M A D O N N A

or the past few years, while her son attended an elite soccer academy in Lisbon, Portugal, Madonna has called nearby Sintra home. Hearing the lively

rhythms and mournful serenades of impromptu living- room sessions in the hilltop village transported the 61-year-old Queen of Pop to a pre-gentrified New York City, where she traipsed about the Lower East Side in lace and mesh with the likes of Jean-Michel Basquiat and Debi Mazar. The traditional sounds of her adopted home also inspired the Latin-inflected songs on her four- teenth studio album, Madame X, which she’ll perform in multi-night residencies in theaters throughout the U.S. and Europe (starting September 12 at Brooklyn’s BAM Howard Gilman Opera House).—MELISSA GIANNINI

Jagged Little Pill (DECEMBER 5) For many, Alanis Morissette’s 1995 album Jagged Little Pill is a classic recording (dare to disagree publicly and face the wrath of Gen X Twitter), and as such, it’s one that fans have their own, closely guarded internal version of. Now it’s being brought to life outside those dusty Discmans via a new musical directed by Diane Paulus (Waitress). Rather than the usual loose autobiography threaded together by songs, the production’s book (by Diablo Cody) reimagines the music in the context of a dysfunctional family. Reworkings of “You Learn” and “Ironic” join two new Morissette tunes, “Smiling” and “Predator.” “We added color, complexity, great themes,” Morissette says of the score. “It wasn’t just crass finger painting all over [the original].” The singer-songwriter adds that her transition to the theater world has been smooth, except for one thing: “I’m still clueless about the terminology. I’m like, ‘What’s that thing where you all get together and practice?’ They’re like, ‘Yeah, it’s called a rehearsal.’ ”—VÉRONIQUE HYLAND

M U S I C

T H E A T E R

Tina (NOVEMBER 7) When Adrienne Warren pinned a photo of Tina Turner on her vision board—with a note reading, “I want to be the next Tina Turner,” no less—she had no idea that she’d end up doing just that. The 32-year-old actress is playing the titular role in Tina, coming to Broadway this fall (its West End run was also extended). The show requires Warren to age from 17 to 40 (“Everything about Tina evolves over time,” she notes, “her body, the way she moves, her speaking voice, her singing voice, her hair!”) and to hit some intimidatingly high notes. Warren studied footage of Turner’s performances and worked with a vocal coach for months to get it right. But her training wasn’t just musical: She also started boxing at New York’s Aerospace gym in order to build the stamina needed to make it from “Proud Mary” to “Private Dancer” every night.

Fall Preview

PICTURED ABOVE, FROM LEFT: CODY, MORISSETTE, AND PAULUS. T H

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M U S I C

T V

M O V I E S

THE BREAKOUT:

Z A R A

L A RS S O N

ara Larsson may be a bona fide pop star in her home country of Sweden, but she was like all of us when she met Beyoncé: “I cried my fucking

eyeballs out,” she says by phone from Manchester in the midst of a spate of European shows. Like her hero, the 21-year-old is a consummate performer—at the age of 10, she won Talang, Sweden’s answer to America’s Got Talent, and now she’s set to woo America. Her brand of soulful pop features big, dancey beats and catchy-as-hell choruses informed heavily by icons like Céline Dion, Christina Aguilera, and Whitney Houston. In short, bangers. “I go for whatever feels right in my gut,” she says of the process of choosing songs for her second full- length LP, out this month. “Would I have this song on my playlist? Do I love it?” Larsson’s music may be pure pop fun, but the brash feminist’s social media platforms are a hotbed of outrage against antiabortion laws, rape culture, and the mistreatment of marginalized commu- nities (plus some full-glam selfies and hilarious memes). “Hopefully the people who are listening to my music will also know what I stand for,” she says. “I don’t want to compromise myself.”—LISA BUTTERWORTH

As the United Kingdom welcomes its new Tory prime minister, American Anglophiles can join in on the British high drama this fall. First up, the Crawley family makes its feature- film debut in Downton Abbey (September 20), nearly four years after the Emmy-winning television show’s finale. With the exception of actress Lily James, the entire principal cast returns for a nostalgia-heavy reunion. Set in 1927, the movie tracks the upstairs-downstairs dynamic as the titular estate’s residents prepare for visitors from Buckingham Palace: King George V and Queen Mary. Then, four decades later, Netflix’s The Crown (fall 2019) ushers that couple’s granddaughter, Queen Elizabeth II, into the mid-’60s. Oscar winner Olivia Colman (The Favourite) steps into the horse- bit loafers of actress Claire Foy, who won an Emmy for her two-season portrayal of the monarch. The third season picks up where Foy left off, teasing the 1969 moon landing and the introduction of Camilla Parker Bowles.—BK

The Royal

Treatment

Name a more iconic trio than this season’s biopic subjects. In Judy (September 27), Renée Zellweger’s first musical role since Chicago, the 50-year-old actress channels Hollywood icon Judy Garland as she preps for a series of sold-out London performances in the winter of 1968, just months before she died of a barbiturate overdose at age 47. An entirely different sort of icon finally gets the feature-film treatment (if not her face on the 20-dollar bill) in Harriet (November 1), with

Tony winner Cynthia Erivo depicting famed abolitionist Harriet Tubman’s escape to freedom and subsequent missions to save other enslaved men and women via the Underground Railroad. And just in time for Thanksgiving, Tom Hanks dons Fred Rogers’s signature cardigan in the Marielle Heller–directed A Beautiful Day in the Neighborhood (November 22) and gets to work transforming a cynical journalist sent to profile him. —LAURA SAMPEDRO

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A handy reference guide to the season’s new TV offerings (which are giving us a delightful case of déjà vu).

Bless the Harts (SEPTEMBER 29, FOX) In Fox’s grand tradition of off-kilter sitcoms comes Bless the Harts, an animated offering from Saturday Night Live vet Emily Spivey that reunites Bridesmaids alums Kristen Wiig and Maya Rudolph. And be on the lookout for Amy Poehler’s Duncanville, also on Fox, costarring Rashida Jones and Wiz Khalifa.

The Morning Show (FALL 2019, APPLE TV+)

Apple enters the streaming fray with a star- studded slate, including this forthcoming drama inspired by journalist Brian Stelter’s book about the morning-TV wars. Reese Witherspoon stars alongside Jennifer Aniston and Steve Carell in their first major TV roles since Friends and The Office.

The Politician (SEPTEMBER 27, NETFLIX)

If the students running for office in 1999’s Election attended high school with the cast of Gossip Girl, it might resemble Ryan Murphy’s latest creation, a comedy series starring Ben Platt (Pitch Perfect; Dear Evan Hansen) as a wealthy high schooler with his eyes on the White House.

Mixed-ish (SEPTEMBER 24, ABC) The latest Black-ish spin-off dives into the Johnson matriarch’s backstory as a mixed-race ’80s kid whose idyllic commune was raided, forcing her to move to the burbs—and decide whether to assimilate or embrace her family’s woo-woo lifestyle. Tika Sumpter and Mark-Paul Gosselaar star.

Sunnyside (SEPTEMBER 26, NBC) Kal Penn (Kumar of Harold & Kumar fame) stars in this new comedy from Michael Schur (The Office; Parks and Recreation) as a young politician from Queens who’s lost his way but is seeking redemption by helping five immigrants forge a path toward achieving the American dream.—MG

If You Like You’ll Love

T V

Fall Preview

King of the HillKristen Wiig and Maya Rudolph in Bridesmaids

Jennifer Aniston on Friends

Steve Carell and Rashida Jones in The Office

Morning shows

Gossip GirlReese Witherspoon in Election

Ben Platt

Hippies Tika Sumpter in Southside With You

Mark-Paul Gosselaar in Saved by the Bell

The World’s BoroughMovingKal Penn

Getting up early

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hen Kaitlyn Dever filmed Booksmart last summer, she and costar Beanie Feldstein were siloed into a friendship bubble of their

own making—living together in a high-rise apartment on Sunset Boulevard, indulging in Kacey Musgraves ballads and Gilmore Girls reruns. Upon its release this past May, their buddy comedy was hailed by countless media outlets (including this one). NPR called the duo “sublime.” The New York Times anointed them the comedic heirs to Lucy and Ethel, and Abbi and Ilana. But before all that, near the end of filming, Dever re- ceived a script for a new Netflix show, Unbelievable. She devoured it—and the ProPublica article the mini- series was based on. She wanted in. And after just one audition, the lead role was hers.

Unbelievable (premiering this month) tracks the story of Marie, a steely 18-year-old who’s been lobbed between foster homes in Washington State her whole life. Just when she’s finally found her footing in a transitional-housing complex for young adults, she’s raped at knifepoint. But according to the cops, some details in her story don’t add up. Marie then recants the entire event, is charged with a misdemeanor for lying, and agrees to a plea deal, hoping to put the whole episode behind her. Fast-forward three years, and two small-town Colorado detectives (played spectacularly by Toni Collette and Merritt Wever) are coming to realize there’s a serial rapist in their midst. The victims’ stories match Marie’s. “[Playing Marie]

was the most difficult thing I’ve ever done in my life,” says Dever, 22. “I’ve never been so involved in a char- acter before, so emotionally connected. I just wanted to get it right. I wanted to give this girl justice and the voice she never had.”

Born in Phoenix, Dever moved to Dallas as a tod- dler when her dad secured the voice role of Barney, PBS Kids’ beloved purple dinosaur. At age nine, she persuaded her parents, both former professional figure skaters, to let her try acting. She landed a job on her first-ever audition: a Barbie commercial. Later, Dever joined the cinematic world of Ameri- can Girl dolls and played Tim Allen’s daughter on the ABC sitcom Last Man Standing. Off-camera, she and her younger sister Mady, 20, perform in a stripped-back folk-pop band, Beulahbelle, whose bewitching, hazy harmonies were featured on last year’s Tully soundtrack.

But for now, Dever’s main focus is acting, and she’s been nailing memorable roles in a string of wide-ranging films, including last month’s Appala- chian drama Them That Follow, in which she plays a naïve teen in a fringe religious cult that practices snake handling, alongside Olivia Colman and Thom- as Mann. The material was heavy, so the cast ended up frequenting a nearby bar in small-town Ohio to unwind. “It was the craziest place,” Dever says. “It had an island theme, with lava, karaoke, and a kids’ jeep you could drive around.”—BK

H O L LY W O O D R I S I N G : K A I T LY N D E V E R

Joachim Rønning’s life path was set the day his family got a video camera. “I decided when I was 10 years old that I wanted to be a filmmaker,” says the now 47-year-old director of Maleficent: Mistress of Evil (October 18). While shooting the sequel to Disney’s 2014 hit, which reimagines Sleeping Beauty from the evil fairy’s perspective, there were many “pinch-my-arm moments,” Rønning says, especially when the film’s three leads—Angelina Jolie, Elle Fanning, and Michelle Pfeiffer—shared scenes. “Those were my favorite days,” he says. “You point the camera at them, and you’re at the movies, basically.” Pfeiffer joins the cast as Queen Ingrith, a paragon of rehearsed civility who’s hiding a dark secret. “She did all her own stunts,” Rønning says of Pfeiffer. “That blew me away.” Ultimately, though, the film’s emotional crux mirrors the original’s. The newly engaged Aurora (Fanning) is settling into a rebellious stage, and Maleficent is afraid of losing her. “Any parent can relate to that,” says the Norwegian director, who has two daughters, ages 13 and 15. “That day will come when they move out.” Rønning, who lives in L.A. with fiancée Amanda Hearst, is joining his second Disney franchise, having also cohelmed 2017’s Pirates of the Caribbean:

Dead Men Tell No Tales. He made his first splash, however, with 2013’s Kon- Tiki, his biopic of Norwegian explorer Thor Heyerdahl, which was nominated for a best foreign language Oscar. “That’s when all the doors opened,” he says.—BK

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A mass embrace of sisterhood has helped tear down decades of misogyny in Hollywood and beyond, so it was only a matter of time before a story line (or four) featured women banding together to overcome adversity onscreen. Films with women-led ensemble casts dominate the marquees this season, starting with Hustlers (September 13), starring Jennifer Lopez, Cardi B, and Constance Wu as savvy strippers who turn the tables on their obnoxious Wall Street clients. Next up is Elizabeth Banks’s feminist remake of Charlie’s Angels (November 15), starring Banks, Kristen Stewart, Ella Balinska, and Naomi Scott. Then Margot Robbie, Nicole Kidman, and Charlize Theron fight the toxic work environment at Roger Ailes’s Fox News in a still- untitled film from The Big Short screenwriter Charles Randolph(December 20). And finally, Greta Gerwig’s highly anticipated adaptation of Little Women (December 25), starring Meryl Streep, Emma Watson, and Saoirse Ronan, promises to smash the patriarchy, nineteenth-century- style.—ANUSHKA JOSHI

T H E M A N O F FA L L : A D A M D R I V E R

dam Driver had his star-making turn in Girls, and he’s since brought a tightly coiled intensity to ev- ery role he’s played—while also managing to steal

scenes in new ways each time. His range will again be on full display this fall, as he investigates the CIA’s use of tor- ture in Amazon’s political drama The Report (September 27); plays a Brooklyn man in the middle of a nasty divorce in Noah Baumbach’s Netflix film Marriage Story (out this December); and reprises his role as Kylo Ren, a Jedi in training who’s turned to the Dark Side, in Star Wars: The Rise of Skywalker (December 20). This Star Wars installment is the last of the franchise, and many will be pleased just to see Driver wielding his lightsaber one final time, as his rangy physicality has prompted a fan base all its own. “My sexual orientation,” reads one Reddit thread from last year, “is Adam Driver’s hands.”—MOLLY LANGMUIR

B O O K S

Shelf Help: The Season’s Best

New Fiction

Author Jacqueline Woodson knows how to articulate aches that, for most of us, remain locked in inarticulateness—particularly that very human craving for validation. In her latest, Red at the Bone (September 17), the National Book Award winner uses this gift to unpack the ambitions and struggles of three generations of a black family in Brooklyn. By the slim novel’s end, she’s painted a poetic mural of their lives.

The debut novel of the season, The Other’s Gold (August 27), reads like an origin story for the women of Big Little Lies. Author Elizabeth Ames introduces four best friends, brought together by chance via their first-year college housing placements, and chronicles their twenties as they stumble headfirst into adulthood and scandal.

With The Shadow King (September 24), Ethiopian American novelist Maaza Mengiste transports readers to her home country in the midst of Mussolini’s 1935 invasion, when legions of women—the author’s great- grandmother included—joined their countrymen on the front lines. Her story follows Hirut, an orphaned servant girl who rises to unexpected political influence.—BK

In The Dutch House (September 24), Ann Patchett’s latest, Maeve and Danny Conroy are two thick- as-thieves siblings whose lives resemble a fairy tale, complete with a missing mom, tuned-out father, and callous stepmother. Set in the Philadelphia suburbs, this story’s magic lies in the house itself, an extravagant mansion from which they’re unable to truly escape.

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Three best-sellers get the Hollywood treatment. So, where to start?

Y O U R

C H O I C E

The Goldfinch (OCTOBER 11)

Few books over 800 pages have captured the world’s imagination the way Donna Tartt’s Pulitzer Prize–winning novel The Goldfinch did in 2013. Next month, Brooklyn director John Crowley reimagines Theo Decker’s art-world roguery for the big screen. Ansel Elgort stars in the lead role, alongside Nicole Kidman, Sarah Paulson, and Luke Wilson.

Jojo Rabbit (OCTOBER 18)

Christine Leunens’s August novel Caging Skies is a perfect fall read, but we can’t wait to see director Taika Waititi’s much-buzzed-about adaptation of this darkly satirical story. Waititi’s Jojo Rabbit follows the novel’s Jojo, a Hitler Youth member who discovers that his mother (Scarlett Johansson) has been hiding a Jewish girl in their attic.

Motherless Brooklyn (NOVEMBER 1)

If you haven’t read Jonathan Lethem’s 1999 novel in which a lonely, lovable private eye with Tourette syndrome sets out to solve his mentor’s murder, we suggest you do so, stat. But don’t skip Edward Norton’s sensitive, jazz-filled interpretation of it for the big screen, his passion project since the late ’90s, but with wink-wink references to the now, like the casting of Alec Baldwin as a corrupt, unelected public official.—BK AND MG

hen famed YouTuber Lilly Singh announced back in March during an interview with The Tonight Show’s Jimmy Fallon that she’d be tak-

ing over NBC’s 1:35 a.m. slot, the camera panned for an audience reaction. While most took the cue to applaud enthusiastically, there were a few whose facial expres- sions read, “Lilly who?” After all, if you’re not one of her nearly 15 million subscribers, chances are good that you’ve never heard of the Indian Canadian vlogger, who started her IISuperwomanII channel in 2010 as a way to battle crippling sadness. The 31-year-old comedienne quickly rose to become one of the service’s highest-paid stars (earning $10.5 million, Forbes reported in 2017). This month, she joins a very exclusive club—only a hand- ful of women have hosted a late-night show on a major network—with the premiere of A Little Late With Lilly Singh. Shortly after the news broke, Singh outlined her plans (via YouTube, naturally) to hire a diverse writing team to help build her show from scratch: “It’s going to be sketch comedy; it’s going to be interviews; it’s going to be a wild ride.”—MG

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PERSPECTIVES

Attorney CARRIE GOLDBERG has made a name for herself defending

victims of online harassment and vengeful exes. Now the high-profile lawyer

is opening up about the abuse she suffered along the way. By Jessica Testa

THE REVENGE- PORN WARRIOR

In Nobody’s Victim, Goldberg expands on the story. The ex didn’t just threaten to publish photos; he messaged her family, friends, and coworkers on Facebook to tell them Goldberg was a drug addict with a sexually transmitted infection. She went to the police, reporting the ex for threatening her, stalking her, and trying to break into her apartment. But he filed a police report, too, accusing her of assault and alleging she’d slept with judges in exchange for favorable outcomes in her legal cases. His report landed Goldberg in jail for a night, she writes. Her charges weren’t dropped until a few months later, after she’d spent $30,000 in legal fees to clear her name.

In December 2013, at the end of that awful year, Goldberg replayed the drama over in her head, standing on a cliff in the middle of a storm in Ireland, where she’d gone on vacation. There, she writes, “I decided I was going to advocate for victims the way I wish somebody had fought for me. I would become the lawyer I’d needed when I was most desperate.” It’s a powerful, cinematic moment. It’s a nice story. It’s not the whole story.

Later in the book, Goldberg reveals she was in a much darker place by the time she climbed onto that cliff. In 2012, before she met the “psycho ex,” she went out for drinks with a man who said he was a doctor, whom she met on OKCupid. The night devolved into “a series of hazy snapshots,” Goldberg writes. One of them is this: bend- ing over a bed while the doctor took a needle and thread to one of her bare ass cheeks, photographed his work, and then raped her. The next morning, she discovered he’d sutured a swastika onto her body.

In telling this tale—one that just a handful of people knew until now—Goldberg comes clean about what really happened on the Ireland cliff: She wanted to jump. “I was so overwhelmed by the doctor’s rape and the psycho’s stalking, I felt hopeless. Like, end-it-all hopeless,” she writes. Suicide felt “like a permanent solution to my unbearable pain.” At this thought, she panicked, climbed down, and made a pact with herself: If she didn’t turn her life around in 2014, she could come back to Ireland and kill herself.

o she started a business. Five years later, Goldberg’s firm has claimed victory in a variety of cases: securing six-figure settlements; helping send clients’ stalkers to prison; initiating investigations into schools’ handling of revenge porn cases. Goldberg has spoken about sexual assault in schools at the White House. She’s consulted on Netflix’s 13 Reasons Why; Paramount Television and Anonymous Content are

now developing a fictionalized version of Goldberg’s story for TV. In the early days of Time’s Up, she was invited to talk about legal services and legislation at the Hollywood homes of Jessica Chastain and Julianne Moore. She works with a blazing energy. In her chic office—think pink sofas, acrylic chairs, and shiny gold accents—she double-fists Diet Coke and hot chocolate, pausing the conversation to reserve her treadmill at Equinox for the next day. There’s no word she uses more than “fight,” though “fuck” comes close.

That doesn’t mean she wins every battle. This spring, Goldberg lost a case against Grindr. She was representing a man named Matthew Herrick, whose ex-boyfriend in 2016 allegedly created multiple fake Grindr accounts in Herrick’s name, seeking ag- gressive sex and sending hundreds of strangers to Herrick’s front door and workplace. This went on for months; Herrick begged the company to take the fake profiles down, but it took no action.

Grindr, best known as a hookup app for gay men, was legally covered by Section 230 of the Communications Decency Act of 1996—the bane of Goldberg’s existence. Under Section 230, online platforms can’t be held liable for any content posted by their users. According to Goldberg, this law is “the single greatest enabler of every asshole, troll,

It’s been a week since Carrie Goldberg submitted a final draft of her book, but when I ask how she feels about it and she says “holy shit,” it’s not out of excitement. Nor is it that she’s feeling stunned, or proud, or relieved. At one point she’d felt all those things, but right now Goldberg is mostly experiencing dread—a nerve-racking, “holy shit” kind of dread.

“There’s gonna be, in August, all these people who know my shit,” she says. “The darkest moment in my life, it’s just gonna be out there. Which is super liberating, but it’s just fucking with me.”

Goldberg is a 42-year-old attorney based in Brook- lyn. Her law firm specializes in representing victims of “psychos, stalkers, pervs, and trolls,” as she calls them. Each case is different, but usually this means Goldberg is working with women who’ve been hurt by men, of- ten in ways facilitated by technology. (She also has male clients but, predictably, not as many.) After opening her firm in 2014, Goldberg began working on cases involv- ing revenge porn, helping victims scrub the internet of nudes posted online without their consent. While her practice has since grown significantly, along with Gold- berg’s national reputation as a tech-savvy, somewhat foul-mouthed legal avenger, one thing hasn’t changed: Her clients know all about having their darkest moments “out there.” Many of them didn’t have a choice. Goldberg, however, is willingly giving up her secrets.

That’s not all her new book is about. Nobody’s Victim weaves together stories of Goldberg’s major cases— like suing the dating app Grindr, and representing ac- cusers of Harvey Weinstein—with her analysis of how the law interacts with harassment, porn, power, and privacy. The book’s tone is straightforward and com- pellingly combative. On page one, Goldberg describes herself as a “ruthless motherfucker,” writing as if she’s raising an “army of warriors.” Feminists who grew up alongside the internet—who don’t see a distinction between real life and what happens online—will find Nobody’s Victim instructive; those who identify as survivors will find it essential.

But the book also rewrites Goldberg’s own narrative. That’s where the dread comes in. Since reporters began paying attention to her work, Goldberg has told the same origin story, including to the New Yorker in 2016: She became a “revenge porn lawyer” because that was the kind of attorney she needed in her midthirties, when her initially adoring boyfriend turned obsessive, jealous, and then full-on “psycho,” threatening to put her intimate photos online when she left him.

“HOLY SHIT.”

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PERSPECTIVES

psycho, and perv on the internet.” Herrick’s lawsuit was first dismissed on the grounds of Section 230 in January 2018; this March, an appeals court upheld that dismissal.

The bad news arrived on the morning of Goldberg’s “Bitch Day.” Once a month, she and her best friend, an- other lawyer, schedule beauty appointments, turn off their phones, and talk about their businesses. “It’s this sacrosanct day,” Goldberg says. When she received word of the Grindr decision, she was in transit and her phone was still on. She scrolled through the court filing, texted “Fuck Grindr” to a colleague, and put her phone away.

Goldberg’s loathing of Section 230 has pitted her against a somewhat unexpected enemy: free speech advocates. The digital civil rights nonprofit Electronic Frontier Foundation (EFF) called her lawsuit against Grindr “dangerous.” The EFF believes Section 230 is a crucial protector of free expression; if internet compa- nies were to be held legally responsible for their users’ content—like a defamatory Facebook comment, Reddit post, or Instagram photo—the EFF fears they’d start cen- soring them. These platforms wouldn’t be “open forums for speech” anymore, the group said last year when it filed a legal brief in support of Grindr.

Even before the EFF weighed in on this case, Gold- berg was no fan of the organization, castigating it on Twit- ter at various times for being “big tech lobbyists” who are “sculpting the internet dystopia of today” and writing, “Nobody is more responsible for protecting hell on the internet (harassment, revenge porn, stalking) than u.”

“It’s easy to point the finger at one party or one law,” says EFF staff attorney Jamie Williams in response to the criticism. But blaming Section 230 is an “oversim- plification of the very complicated problems that we’re facing online right now.”

“The internet we have today has been shaped from Section 230,” Williams continues. “Acting like we all haven’t enjoyed that or benefited from that is ridiculous and dangerous.”

Yet to Goldberg, that’s the problem. She believes the internet we have today is a bad place. “Almost every one of our clients’ stories starts with ‘I met him on the internet,’�” she says. She recognizes that some people have great experiences with dating apps, even meeting their future spouses. But it’s how she met her abusers. She’ll never online-date again—not that she’ll need to. This past February, Goldberg became engaged to her co-counsel in Herrick’s case, Tor Ekeland, an attorney well known for defending hackers. In 2015, Wired called him “the troll’s lawyer.” Goldberg is more of a troll hunt- er. They make it work.

ecently, someone at an event turned to Goldberg and said, “You’re like the Gloria Allred of Brooklyn,” re- ferring to the attorney famous for representing women in the highest of high-profile abuse cases. Goldberg was annoyed at the comparison.

“I see why, because I’m, like, a ‘lady lawyer,’�” she says. “But I don’t agree with her methods”—namely, holding nationally televised press conferences as a matter of course. “I think it’s cruel to clients. She always does it

really early on in a case, when she doesn’t really know the client and hasn’t established the trust.” Yet Goldberg has faced style-over-substance criticism herself. Scott H. Greenfield, a criminal defense attorney and prolific legal blogger, has been skeptical since she started her firm, calling Goldberg a “baby lawyer” in 2014 and sticking with that position, referring to her rhetoric in 2018 as “hyperbolic and disingenuous” and calling her notoriety “undeserved.”

Last year, a similar argument was made to 32-year-old Michelle Hadley, who was firing her attorney—an older man—in order to hire Goldberg. He told Hadley that Goldberg “looks like a millennial and she’s good at marketing, but does she know how to handle a case like this?” Hadley wasn’t fazed. In 2016, she spent 88 days in jail after being framed for threatening her ex’s new wife. Before her exoneration, the media crowned her the “craziest of crazy ex-girlfriends.” Hadley knew what it was like to be discounted for being young and female; she could recognize when it was happening to other women. Goldberg is now representing Hadley in a lawsuit against the police who arrested her, her ex-boyfriend, and his then wife.

“I feel like I have a feminist guardian angel,” Hadley says. “She is unlike any attorney I have ever met.”

This is undeniably true. Goldberg is a spectacle; her signature look is huge glasses, voluminous hair, and high, high heels. She adopted the style while working as a non- profit attorney in housing court early in her career, trying to make herself memorable to judges and other lawyers while going up against more established (and drab) slum- lords’ attorneys.

“Housing court was a very weird, sexist place,” says Goldberg’s friend and former coworker Rebecca Symes, standing in the kitchen of Goldberg’s downtown Brooklyn high-rise condo, where her bookcases are stuffed with art books and walls are lined with whiteboards keeping track of her and Ekeland’s schedules. “Carrie was the most glamorous person I’d ever met.”

Now, on an average day at work, Goldberg skips heels. But people still call her glamorous. This has less to do with her statement accessories and more to do with the provocative spirit underneath it all, a persona that peaks when Goldberg is tweeting or composing “spicy” cease-and-desist letters. Writing from behind a screen has always come easier to Goldberg than doing anything in public—a quality she incidentally shares with trolls. When she was growing up, Goldberg’s confidence was smothered by a speech impediment that prevented her from pronouncing her own name correctly. “I was so shy as a kid,” she says.

This, however, isn’t what her childhood friends remember—at all. Lindsay Lunnum, who bonded with Goldberg in junior high over their matching orthodontic head- gear, remembers a Goldberg who was always inordinately bold. She wore jewelry

ATTORNEY CARRIE GOLDBERG SPEAKS TO THE PRESS AS HARVEY WEINSTEIN LEAVES CRIMINAL COURT ON OCTOBER 11, 2018, IN NEW YORK CITY.

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and clothes she made herself, including a skirt made of neckties inspired by Blossom. In high school, after a classmate bragged about getting hand jobs from one of Goldberg’s friends, she and Lunnum glued a bunch of amputated dolls’ hands to a poster and wrote, “We’ll Give You a Hand,” presenting it to him on his birthday. The two girls would get kicked out of AOL chat rooms for making up characters and causing chaos. Goldberg’s family was one of the first to get internet in Aberdeen, Washington, a “sleepy little logging town,” as described by another friend, Sheri Bozic.

oldberg wasn’t exactly the black sheep of her family, but she was a little weird, Bozic recalls, an enigma to her more traditional parents and three siblings. (Even today, Goldberg says her sister won’t tell her adolescent daughters

what their aunt does for a living, as if “describing what I do is too traumatic for them or something.”)

The tight-knit Goldbergs were “really well loved” in Aberdeen, Bozic says; Goldberg’s father helped reopen a shuttered paper mill, restoring jobs to a town strug- gling after the government restricted logging to protect the endangered northern spotted owl. But Bozic loved Goldberg’s family for a more personal reason: They fiercely supported her when she put her father in jail for sexual abuse.

It was never Goldberg’s plan to work with sexual assault victims or even become a lawyer—she wanted to be a writer until college, when a bad workshop experi- ence left her feeling disillusioned. But supporting Bozic through her ordeal was a harbinger. Goldberg says it was her “first real exposure to how fucked up people can be and what strength really looks like.”

Goldberg’s own first taste of sexual trauma came af- ter her freshman year at Vassar College, when she was home for the summer and working at her father’s mill. There, some of her male coworkers routinely groped the 18-year-old. As she recalls in Nobody’s Victim, she didn’t tell her parents. Instead, she began fighting intensely with them. She went on a hunger strike that turned into a debilitating eating disorder: “By the end of the summer, my diet consisted primarily of Baskin-Robbins Rainbow Sherbet and these little white pills we called ‘mini-thins’ that truckers used to stay awake.” She was eventually hospitalized and took a semester off. (Even when she was back at Vassar and in recovery, Goldberg still had an eccentric palate. Her roommate, Sasha Erwitt, recalls her mixing dry oatmeal with Dr Pepper.)

Around this time, Goldberg inspired a pop-punk song that still lingers in her Google results. “Carrie Goldberg” by The Steinways tells the true story of a winter formal during which she got a nosebleed from doing too much cocaine and told a guy that she liked him but was already seeing her professor (whom Goldberg later married and amicably divorced). Goldberg didn’t find out about the song—which ends with that same guy bellowing, “I wanted to have sex with you!”—until a few years later, but she thought it was funny. She has a dark sense of humor about her life. When people ask her about her self-care routine, for example—and this happens a lot,

usually at panels or talks with female audiences—she’s calibrated her answer to equal levels of honesty and flippancy: “450 milligrams of Wellbutrin a day, running marathons, and sex.”

Today, Goldberg’s unorthodoxy extends to her re- lationship with some of her clients; she doesn’t feel the need to draw strict professional boundaries with them. One 17-year-old client calls Goldberg in any crisis, day or night. Sometimes Goldberg acts as the girl’s therapist or social worker, or as a mediator between her and her mom.

“I’m always gonna send her shoes for her birthday and for Christmas, and no one can tell me it’s not appro- priate because I don’t give a shit,” Goldberg says. “And because I own the business.” Some corporate lawyers might gift their clients box tickets to the Mets, she points out. Goldberg takes hers out for manicures.

This closeness can be helpful in her work, too. Gold- berg’s job can involve extracting painful memories from clients, excavating their trauma in order to determine their legal options. In return, she helps them reclaim their stories. When Hadley read the 79-page civil com- plaint Goldberg filed on her behalf, “for the first time, it felt like someone truly listened to me, heard me, and put my experiences to paper,” she says. Yet when it came to her own story, Goldberg hesitated.

While writing Nobody’s Victim, Goldberg says she’d nibble on an eighth of an Adderall and send long emails to her cowriter, Jeannine Amber, working through her thoughts. In one email, she told Amber about her rape and the suturing, but she insisted, “It’s not gonna go in the book—you just need to know this thing.” Amber told her to put it in the book anyway.

“I felt really guilty,” Goldberg says. “I felt like it was really going to upset my family.” They knew vaguely about the rape; the “psycho ex” (who’d threatened to find and kill the doctor) told all of Goldberg’s relatives about it during his post-breakup Facebook rampage. But Goldberg had never spoken directly to anyone in her family about it. She worried they’d think putting it in the book was “too exposing.” And, like so many others, Goldberg was afraid she wouldn’t be believed.

Then she became ashamed of her fear, judging her- self for wrestling over the decision. She was supposed to be fearless. She writes in her book that in 2014, when she gave herself one more shot at living, she decided to “quit admonishing myself for making stupid choices and bad mistakes. I stopped seeing myself as a victim and reclaimed control.” But this was tripping her up.

Once Goldberg began experimenting with writing about her rape, her editor and agent urged her to keep going, she says. She expected they would. It’s a lurid story. It stops you, sickens you, and stays with you. Still, Goldberg had her dread—her “holy shit” feeling. It took time and therapy to come to terms with the decision and unpack her guilt over it. When she had her break- through moment, it came simply and bluntly. Goldberg was telling her fiancé and her best friend that she was considering including her experience in the book. They knew the story: Sharing it didn’t have to mean giving up her hard-fought control of it, nor diminish any of the professional hell-raising she’d done since. They said: “Duh, of course you should.”

Nobody’s Victim: Fighting Psychos, Stalkers, Pervs, and Trolls

By Carrie Goldberg Plume

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t’s 7 p.m. on a Friday, and across New York City, happy hours are winding down and group chats are lighting up. Outside the Kings Theatre in Flatbush, Brooklyn, hundreds of young women are standing in line.

They look like the women you’d see on any Brooklyn- bound subway: white, black, Asian, and Latinx, wear- ing boilersuits with Vans, cropped wide-leg pants with pointy-toe mules, tracksuits emblazoned with logos. A few are dressed festively, or festival-y, in flower crowns and colorful wigs. Some have been standing here for hours, sacrificing the entire day for a seat close to the stage, spirits undampened by the cold April drizzle.

They’ve come for Colour, a two-day conference dedicated to placing value upon “everyday women of all ages, backgrounds, and cultures,” put on by the evangelical megachurch Hillsong. Inside, the ornate French Renaissance theater has been transformed into a 2019 vision of feminine self-love. A sculpture of old TVs and faux flowers serves as a backdrop for selfies; a pamper booth offers makeup touch-ups and dry sham- poo samples. There’s a shop selling spiritual self-help books, Bibles, and T-shirts that say, “Choose Empathy.”

Filing into their seats, two young women are talking about someone in gushy, breathless tones.

“I’m just so in love with him,” one says. She’s wear- ing a tiara.

“I know, me too,” her friend replies. “I’m obsessed.” I don’t even have to ask whom they’re talking

about. I’ve been attending Hillsong services for the past few months, so I already know. They’re talking about Jesus Christ.

As far as icons of female empowerment go, you could do worse. In his day, Jesus preached a profound- ly egalitarian worldview; the New Testament says that everyone—male, female, slave, master, rich, poor—is equal under God. But Christianity’s interpretation of the Bible over nearly two millennia of patriarchy has not, by and large, kept pace with women’s changing roles in society, and many American feminists fin- ger conservative religious activism for our country’s current state of diminishing reproductive rights and oppression of the LGTBQ community. While many

liberals consider Christianity to be a byword for misogyny, there’s an issue with that perception. Actually, there are more than 3,000 of them, and they’re sitting under the gilded ceiling of the Kings Theatre.

Through many conversations over several weeks, I’ve come to understand that what these women are seeking is a sense of belonging and purpose that secular feminism doesn’t readily provide. Their theologies are individual and personal—some disagree with Hillsong’s stance that the Bible is “clear” on marriage being between a man and a woman—but each of them believes that Jesus Christ and his teachings can make the world kinder and more equitable for women. They are, for the most part, young, cre- ative, and independent. They’re still in college, or embarking on cool careers. Many admit a fondness for drinking and looking cute on social media—but they also believe in God, marriage, and community. Hillsong doesn’t ask them to align their lifestyle with their faith. And, at Colour, they’re presented with something rare: a space to think about how to be both a good Christian woman and an empowered one.

Alana Frazier, 33, describes herself as a fan of Hillsong, and she founded her faith- based apparel line, God Thinks I Am, with these women in mind. Her most recent lookbook features diverse models with Instagram-ready brows wearing tees that say, “Then, God Made Woman,” styled with high-waisted pants and minimalist sandals. “In 2019,” Frazier says, the Christian woman is “multifaceted and doesn’t subscribe to groupthink. She wants to be like her [favorite] celebrities and influencers. But at the same time, [she’s] saying, ‘Hey, I’m a real woman, I’m not perfect, but the one thing you need to know about me is I believe in God and I’m ready to tell the world.’�”

Few organizations are more visibly updating Christianity for the twenty-first centu- ry than Hillsong. Founded in Sydney in 1983, the church has ties to Australia’s conser- vative Pentecostal tradition, but has become influential around the world thanks to its deep coffers and chart-topping worship rock. Last year, the church announced it had “outgrown” denomination, and today it serves up broad-brush, feel-good Christianity while minimizing its more dated beliefs. Hillsong fills ballrooms in Los Angeles, New York, and London with the help of aspirational churchgoers such as Justin and Hailey Bieber, Kevin Durant, and Kylie and Kendall Jenner. Services are live-streamed; dona- tions are collected via the church’s proprietary, Venmo-style app; and, unlike in some conservative Christian denominations, women can serve as pastors.

Hillsong’s most visible female ambassador is Bobbie Houston, who cofounded the church along with her husband, Brian Houston; together, they are the church’s global senior pastors. According to Bobbie’s 2016 book, The Sisterhood, the idea for Colour came directly from God, during a coed Hillsong conference in 1996. She heard God’s voice speaking to her: “Bobbie...Create a conference for wom- en...a conference and environment for young women, but girded about with older women...and tell them...tell them that there is a God in heaven and a company of others who believe in them,” she wrote. Hillsong held its first women’s conference in a western suburb of Sydney in 1997, under the name Colour Your World. Today, Colour has expanded to London, Cape Town, New York, Los Angeles, and Kiev and is attended by nearly 50,000 women per year.

A pamphlet promoting Colour 2019 (this year’s ticket price is $159) features women

Young women have embraced the millennial-friendly

gospel of HILLSONG CHURCH, knowing

Jesus loves them and Instagram. By Hayley Phelan

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PERSPECTIVES

of varying ethnicities, naturally lit and believably happy. A rainbow wall hanging frames one girl’s Afro; another wears a shirt proclaiming, “Wage Peace.” Colour, the text says, is a “movement of women” who want “to change this world from the inside out.” This year’s theme, “Be Found in the New,” is taken from the Book of Revelation. But if you didn’t know that, the pamphlet could be an Urban Outfitters catalog or an Everlane lookbook—a sign of both Hillsong’s cultural fluency and marketers’ aware- ness of consumer fatigue. A new sofa or cute leggings are just the window dressing in a life of purpose—a way to transcend exhaustion, loneliness, and low self-esteem, and step into a world of our own making. Which, when you get right down to it, sounds a lot like religion.

The number of young adults (18 to 29) who iden- tify as religious “nones”—not affiliated with any reli- gion—has nearly quadrupled in the last 30 years, from 10 percent in 1986 to 39 percent in 2016, according to the Public Religion Research Institute. And among those who are practicing Christians, about half are more reluctant to evangelize than earlier generations were; 47 percent believe it’s wrong to try to change other people’s religious beliefs, according to the faith research organization Barna Group. But the Pew Re- search Center says that most millennials—like their parents and their grandparents—still believe in heav- en. And 55 percent of them think about the meaning and purpose of life. Also of note: More than half are willing to accept astrology as a science, according to a National Science Foundation survey. That last fact rings especially true to me, a “none” who has been to sound baths, tarot card readers, psychics, and reiki healers. If I can believe in witches and magic rocks, why not Jesus Christ dying for our sins?

Kinsey, 19, attended Colour last year in Los Ange- les, when she was a student at the Fashion Institute of Design and Merchandising. Kinsey, who has long auburn hair, with bangs that sometimes fall into her eyes, was raised in Texas by a Baptist mom and a Cath- olic dad, and attended a Lutheran school. She liked Hillsong’s lack of rules and routines, compared to other denominations. “You don’t have to be perfect walking in the door,” she says. “It’s a very ‘Come as you are’ community. Here’s God; He loves you anyway.” Seeing so many women come together at Colour, celebrating God and one another, was unlike anything she’d ever experienced. “The community is really why I stick with it,” she says. “You don’t get that a lot in the big city.”

I know what she means. Everyone at Hillsong seems genuinely happy and open in a way I haven’t experi- enced since I was a small child, before social interac- tions came with asterisks and preambles. People smile, strike up a conversation, and ask if they can hug you. While we’re waiting in the rain for Colour to open, a young girl offers me her umbrella, and I stare at her way too long, dumbfounded and, later, ashamed at how suspicious a stranger’s kindness makes me. When I find my seat, I make a point of chatting up the woman sitting next to me. “My work friends think Hillsong is weird,” she says. “They’re like, ‘What is it you do—go to a con- cert in a church?’�” I ask her what she says to them. “I tell them I’m not religious. I’m a Christian.”

he lights go down at the Kings Theatre, and a spotlight illuminates a white piano. Every Hillsong service begins with a concert, and the one that kicks off Colour is supercharged: A cast of female violinists comes out and does a choreographed dance while playing. Three thousand women throw their arms up and cheer.

Welcoming the crowd, Bobbie Houston is self-deprecating and a bit scatterbrained. She loses her train of thought and then finds it again, saying, “Praise the Lord, Amen!” She quickly introduces Carl Lentz, the superstar pastor with 629K Instagram followers, perhaps best known as the man who helped Bieber get his shit together. Wearing sunglasses and a black baseball hat, Lentz talks about the wage gap. “Today, women earn 56 percent of all bachelor’s degrees in the United States,” he says. The audience cheers. “4.8 percent of CEOs at the top [Fortune] 500 companies are women.” The audience cheers again, and Lentz corrects them. That figure is actually

not very good. He adds that over 40 percent of men don’t even believe the wage gap exists. “And women, if one of those men is your husband, I’ma pray for you.”

Behind Lentz, a screen lists the ways that audience members can donate to the church. He begs them to be generous. “If you look at how bad the disparity is, you’ve got two op- tions,” he says. “You either look at the status quo and go, ‘Well, we’ll [acclimate to this].’ Or you come to a conference like this,” he says, his voice raising to an ecstatic shout, “that champions every single woman in the world to find the supernatural presence of God!”

This idea, that spiritual salvation is the key to gender equality, only starts making sense when I’m told to look beyond the zero-sum economics of life on earth. “Jesus is love; He is truth and equality,” Claire, a 24-year-old budding baker, tells me as we walk to get a coffee during one of Colour’s breaks. “If we have everything we need in this world—money, a good job, whatever you think you need—but we don’t have Him, then really, what does it matter?” Accepting Jesus Christ as one’s personal savior is the most empowering thing a woman can do in her life, according to this view, because it’s the only thing that will matter after she dies. Despite the inequality separating us now, we might one day all hang out as sisters in heaven.

As with all evangelical churches, Hillsong’s goal is to get every person to that ultimate destination. But bringing in as many people as possible to the church itself also has the benefit of bringing in more money, in the form of donations, to save yet more people. Hillsong views tithing, the biblical practice of giving 10 percent of your income to the church, as a testament of spiritual commitment (though I wonder whether 8 percent might be sufficient from women, considering the aforementioned wage gap). In 2017,

TAKE ME TO CHURCH: JUST A FEW OF THE

CELEBS WHO’VE BEEN SPOTTED AT HILLSONG

KENDALL JENNER KYLIE JENNER HAILEY BIEBER

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Evangelical churches have long been early media adopters, using radio and television sermons to spread the word. In his Vision 2019 video, which outlines Hillsong’s goals and predictions for the year, founder Brian Houston proclaimed the power of social media: “I believe that we’re going to see a gathering of influencers like never before! Influenc- ers are gathering!” In Houston’s terms, people with great lives on social media are “kingdom builders”: “These are groups of people who believe that God blessed them so that they can bless the house of God mightily,” he has said.

The belief that God wants you to glow up—and that praying to Him will help you do so—is known as the prosperity gospel, says Marion Maddox, an Australian academic who has been studying (and critiquing) Hillsong for the past 15 years. Maddox sees Hillsong’s social media success as evidence of what she calls “envy evangelism.” As she describes it, “Basically, it’s ‘Make yourself into a walking billboard for Jesus.’�” Maddox says that at Hillsong and similar churches, the image of the pastor and the “perfectly groomed wife” replaces the more conventional iconography of Jesus, Mary, and Joseph.

If Instagram is to be believed, these wives are living the 2019 dream: They have health, wealth, and enough time to play with their cherub-faced children and still make it to wine o’clock with their best girlfriends. “Having a perfect sex life is another element to it,” Maddox says. “Bobbie has even said [in her audio series Kingdom Women Love and Value Their Sexuality], ‘Hey, we need to make sure we, as Christian women, are having hot sex.’ So that you can say, ‘Wink, wink, nudge, nudge, I have a great sex life, and the reason is Jesus.’�” These women are seen as religious leaders but seem to exist above the fray of the culture wars that occasionally demand statements from Hillsong’s male pastors (Lentz, for example, has been criticized by more conservative Christians for being too soft on abortion, and has used social media to clarify the church’s position: Abortion is a sin, but sinners are welcome at Hillsong).

According to Maddox, envy evangelism and the prosperity gospel teach that “peo- ple’s difficulties are generated by the individual rather than the social structure.” Wealth is available to everyone, the thinking goes, so if you’re not wealthy, you’re doing some- thing wrong. Likewise, if you’re one of the privileged, there’s no need to feel guilty about the country’s growing inequality. “On the contrary, you’re doing right by putting your- self in a position of influence, which is exactly what you’re meant to be doing,” Maddox says. Lea Ceasrine, a former Hillsonger who left, in part, over the church’s stance on LGBTQ rights, says the church’s social media stars left a bad taste in her mouth. “You have these young people who are supposed to be role models exhibiting more of the status symbols that come with influence, and that’s just really bad messaging,” she says. “That doesn’t exist if you go to a normal church. It’s a totally opposite thing.”

But Hillsong congregants say that Christian influencers are a source of inspiration, proof that Christian women can be cool, too. “I definitely think Hillsong has made me be even more open about my faith,” says Nicole, a 21-year-old I meet through Hillsong’s L.A. campus. “In life and also on Instagram.” She is studying to be a set designer; her Instagram bio includes a cross emoji alongside the words “Be obsessively grateful” and a link to her side hustle, a hair-care consultation service. Kinsey and a friend talked recently about how they could use their own Instagrams to spread the word. “[We were] looking at our posts and going, ‘How can we make this to glorify God and maybe actually get more people to come?’�” she says.

Frazier, the Christian T-shirt designer, believes the end game of Christianity, unlike other lifestyles sold on Instagram, at least offers relief from society’s moving goalposts and the roller coaster of self-esteem. “One day you’re beautiful; the next day you’re not. One day you’re doing a great job at work, and one day you’re not.” God, on the other hand, doesn’t change. “That’s why [I call my brand] God Thinks I Am.... God thinks I am a masterpiece; God thinks I am intelligent and capable of doing anything. I didn’t make this up. It says that in the Bible. We are God’s masterpiece. And that never wavers.”

Wilkerson uses her Colour sermon to draw back the curtain on her picture-perfect lifestyle. Kind of. She talks about her “weaknesses”: the time she was unable to finish

the East Coast churches (which include New York City; Montclair, New Jersey; and Boston) brought in more than $8.8 million in tithes and offerings.

The church’s charitable arm includes a long-standing relationship with Compassion, a global humanitarian organization dedicated to raising children out of poverty while giving them the “opportunity to hear the Gospel of Jesus.” During Colour, Ugandan women tell us via promotional videos that they’re doing great, thanks to Hillsong. Later, everyone in the audience is given a bar of soap that Houston says has been made by refugee women in Iraq. The crowd goes wild; the soap is all- natural and smells like chamomile.

The male pastors of Hillsong and its American off- shoots might appear in paparazzi photos with Christian celebrities, but to the women at Colour, their wives are the real stars. There is Esther Houston, the glamorous wife of Bobbie’s son Joel, who lives in New York City but Instagrams from Cabo San Lucas; Montauk, New York; and the White House. In Southern California, there is Mikaela Simila, a model and the wife of Hillsong campus pastor Diego Simila; and Courtney Lopez (née Barry), a friend of Selena Gomez’s and the wife of Hillsong pastor Sam Lopez. In New York, one of the Colour headliners is DawnCheré Wilkerson, who, along with her husband, Rich, is cofounder of Miami’s Vous Church, which owes a lot to Hillsong’s youth-driven, trendy take on Christianity. Wilkerson has celebrity pals (her husband married Kim and Kanye) and a short-lived Oxygen reality show, Rich in Faith, to her credit, but like most of the women in Hill- song, she is mainly known through her Instagram. “I love following all of them,” Claire tells me. “It’s such a good reminder when I’m just scrolling through my phone. Like, Oh yeah, right, God. That’s what’s important.” She adds, “A lot of them are really good at Insta.”

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climbing a mountain with her now husband; the day she got into “multiple bike wrecks” on her way to school. She got winded running down the hallway the other day. She confesses that once, when she was pitching at a charity softball game, she wound up “nailing the girl in the back.” “If you [can be] just a little more honest about your situa- tion, a little more open with your sisterhood,” Wilkerson says, “then strength will come into your broken situation and He will fix your broken heart...and yes you will be found in the new!” She ends with a spot-on rendition of Mariah Carey’s “Heartbreaker,” including the Jay-Z rap.

These moments of realness are a highlight for Katie, a 25-year-old former dancer who traveled from Minnesota for the conference. “Everyone on the stage was super- authentic to who they were,” she tells me later. “They weren’t trying to be someone they were not.” Houston’s final remarks, in particular, stick with her. “It was the closing of this huge conference—thousands of women are there—and I remember Pastor Bobbie was like, ‘I don’t know what to do now.’ She literally said that in front of thousands of people: ‘I don’t know what to do.’�”

No matter how imperfect the Hillsong woman may cop to being, it is taken for granted that she will eventu- ally be married. To a man. During Colour, Lentz—who recently applauded his own wife on Instagram for “never choosing our kids over our marriage”—advises the audience: “If you’re single, like we say every year at this time, you hang on to Jesus.”

There’s something unfeminist about this “Jesus is my boyfriend” talk. As Maddox has written, “Men identify as co-leaders in the image of a passionate [male] God,” while women are taught to aspire to be “a male God’s desired ‘sweetheart.’�” Worse, it assumes that the right kind of love is between a woman and a man. Hillsong maintains that it is not “anti-anyone,” but its enthusiasm for heterosexual marriage is to the pointed exclusion of any other kind of romantic partnership.

According to Nicole, the future set designer, the idea that Jesus is your boyfriend has less to do with gender roles and more to do with faith itself. “It’s difficult to explain,” she says. “I just imagine He is right here beside me. Like, literally, beside me, supporting me and loving me through everything.”

Before Nicole started going to Hillsong, she was dating someone she probably shouldn’t have been. After joining Hillsong, she says, “I was like, ‘What am I doing? This is not how I want my relationships to work.’�” Which is not to say she now sits at home, wait- ing for her future husband. Nicole goes out, has party weekends with her girlfriends, and owns a closetful of crop tops and T-shirt dresses. She can see how other women might find casual hookups empowering, but personally, she’s “not the biggest fan.” “Even if you don’t think it’s a big deal [to sleep with someone], you see that person walking down the street, and you’re like, ‘Oh my God,’ because your soul still feels something,” she says. “That pain is not empowering.” Recently, a guy ap- proached Nicole at the mall and asked for her number. In response, she asked if he believed in God. “Because if the answer is not an immediate and resounding I’m-so- excited ‘yes,’ honestly, I’m going to say no,” she says. “I’m just cutting to the chase.”

Centering God in relationships can be clarifying, according to Kinsey. Living in L.A., she says, it’s easy to get caught up in wanting attention and comparing yourself to other girls. “Hillsong keeps me grounded in God, knowing that He should be the center of all social situations and dating life,” she says. “It’s not about you. It’s not about the other person. You do everything for God.” The women I meet at Hillsong are looking for equitable but essentially traditional romantic relationships. (And so are a lot of my secular feminist friends.) “I think the guy should lead the family,” Nicole says, “but it also has to be a partnership. Even if he’s the one making the decisions, it has to be based on what you both want, not just what he wants. If it was the girl leading the family, it would be the same thing.” Personally, Nicole believes in gay marriage. “I have so many friends that I can’t imagine them not together. God made everyone, and I just can’t imagine God not loving them and not wanting them to be happy.”

Hillsong’s anti–gay marriage and anti-abortion stances seem at odds with the fe- male empowerment message of Colour, but the young women I spoke with hold more nuanced views. Frazier told me she wouldn’t get an abortion herself, but she wouldn’t ban them for other women. At Colour, the politics of Hillsong seem far from attendees’ minds, or else part of a compromise they learned to make a long time ago, to be part of a group without unanimously supporting it. There is a chance, after all, that these women will stay involved, know their worth, and assume leadership, to the point that one day their nuanced views could become church doctrine. Kate Wallace Nunneley, a pastor whose Junia Project advocates for the inclusion of women in Christian leadership, says Christian women across denominations are “pushing back, asking questions, and the result is a move toward greater gender equality,” she says.

Back at the Kings Theatre, Houston has one more surprise for the women in the audience: a shower cap. A group of dancers appears in shower-themed ensembles, and little girls dressed as rubber duckies storm the stage. There is some half-baked sym- bolism here, about washing ourselves of superficial judgment and historical baggage so we may be found, fresh and clean, “in the new.” But the messaging is fuzzy. “Maybe there isn’t a deeper meaning,” Katie tells me. “Maybe it’s just, ‘Hey, to go along with this soap, here’s a shower cap.’�”

As Colour comes to a close, Taya Smith Gaukrodger, a singer in Hillsong United (one of the church’s three bands), takes the stage, wearing skinny jeans and an oversize blaz- er, her short platinum hair tucked behind her ears. As she sings the pop hymn “Clean,” her voice resounds through the theater, powerful and heartbreaking. Thousands of women sway together and embrace. Many of them are crying, still wearing their shower caps, each one a different color. The kaleidoscopic effect of the shower caps swaying is kind of ridiculous but also deeply moving. Or maybe you have to be there. If I weren’t, it occurs to me, I would probably be in a bar around the corner, drinking an overpriced cocktail, staring at my phone, and jumping out of my skin if anyone tried to talk to me. Here, seeing me alone, the woman next to me puts her hand around my shoulder.

BOBBIE HOUSTON, HILLSONG COFOUNDER AND CO–GLOBAL SENIOR PASTOR, SAYS GOD TOLD HER TO CREATE A CONFERENCE FOR CHRISTIAN WOMEN.

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D AV I N A ,

D I A G N O S E D I N 2 0 1 2

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With her debut book of essays, writer JIA TOLENTINO

cements her status as one of the premier chroniclers of our

obsessions and anxieties. By Molly Langmuir

SHE CONTAINS MULTITUDES

PERSPECTIVES

n September 2004, New Yorker writer Jia Tolentino, then 15, tried out for a reality show. She and her parents were at a mall in Houston when they noticed a booth advertising a casting call, and her dad offered her $20 to audition, as a joke. Three months later, Tolentino was on a plane to the Caribbean to appear in Girls v. Boys: Puerto Rico—which, it should surprise no one, involved two teams of teenagers competing

against each other in various challenges while living together in a house brimming with hormones and low-stakes drama.

At the time, reality TV was just beginning its sprawl into every corner of conscious- ness, and almost all traces of Girls v. Boys: Puerto Rico have since disappeared from not just television but the internet (though it is possible to find one picture of the cast stand- ing arm in arm on the beach, with Tolentino sporting a crop top and a winning grin). It would be easy to dismiss the show as just so much detritus from the new millennium, or simply an early harbinger of what was to come.

Instead, Tolentino, in an essay from her debut collection, Trick Mirror: Reflections on Self-Delusion (out August 6), tells a story about her experience with so much depth it practically rips open a portal. Using language that often conjures a Technicolor vivid- ness, it is about how our identities have come to be shaped by algorithms and our sense of reality distorted; about complicity, performance, self-surveillance, and how selfhood itself is a complex, ever-shifting concept. The book includes nine original pieces—about half are personal memoir, while the rest are social criticism—and in all of them, over and over, Tolentino lays out a satisfyingly perceptive insight only to push past it, asking how she might be using it to obscure something else. At one point, in the essay about Girls v. Boys, she writes that rewatching her show felt similar to scrolling through Twitter, “thinking on the one hand, Where are we underneath all of this arbitrary self-importance? And on the other: Aren’t we all exactly as we seem?”

That all this observation unspools from a forgettable early-aughts reality show feels almost like an act of transmutation, as if someone used a bag of Doritos and a bottle of Snapple to produce a multicourse feast. But this is also what has come to be expected from Tolentino during her rapid rise through the media world.

“What is Jia now, 30?” asks David Remnick, the editor-in-chief of the New Yorker, where Tolentino has been a staff writer since 2016. “I mean, God Almighty, I didn’t know how to tie my shoelaces when I was 30. You look at Joan Didion when she was young—suddenly there was this voice that seemed new and distinct and was talking straight at you. Jia’s a very different sort of writer in terms of temperament, but the effect is similarly startling and fresh.”

At the New Yorker, Tolentino’s interests have been omnivorous—she’s covered, among other things, the Westminster Dog Show, abortion rights, the lawyer Gloria Allred, the e-cigarette company Juul, Ovid, and the Cosby trial—and her writing often goes viral. Routinely, she’ll pull at what appears to be a disparate thread and show it to be part of a vast web in which we are all entangled. She has also proven uniquely able to take up a popular artifact, like weighted blankets or the Pixar movie Coco, and, in exploring her own response, convey the confusion and anguish many Americans feel about the state of our country. “It makes some of the noise fade away, just to hear it through her voice,” says Puja Patel, the editor-in-chief of Pitchfork and a longtime friend. (This has occasionally made Tolentino a target—she recently tweeted a screenshot of an email suggesting she deserved to get anal cancer.)

What can seem contradictory is that while her writ- ing is obviously informed by a searing intelligence, when she appears in it, it’s often as a blank-brained stoner speaking in slang. In the Juul piece, for example, she asks a student in a college library who’s holding an e-cig- arette, “Can I…maybe hit it?” (She does.) Similarly, she writes extensively about her own capacity for delusion, but comes across as unusually undeluded. In the essay about Girls v. Boys, a few pages after writing that she auditioned for the show on a whim, she adds, “I like this story better than the alternative, and equally accurate one, which is that I’ve always felt that I was special and acted accordingly. It’s true that I ended up on reality TV by chance. It’s also true that I signed up enthusiastically, felt almost fated to do it. I needed my dad’s twenty dol- lars not as motivation but as cover for my motivation.”

Tolentino often says she tries to write strong argu- ments with no conclusions. Instead, many of her endings serve almost as refractions, tilting the story just enough that a new layer appears. The last few paragraphs of her reality TV piece, for example, reference an interview she did with one of her castmates, who says that everyone on the show wanted to be famous, except for Tolentino. “You were the only one who was really not interested,” he con- tinues. “You said you would only ever want to be famous for a reason. You were like, ‘I don’t want to get famous for this bullshit. I want to get famous for writing a book.’�”

Today Tolentino lives in Clinton Hill, Brooklyn, with her longtime boyfriend, Andrew Daley, an architect, and their dog, Luna, an undocile but good-natured 90-pound mutt whom Tolentino described on The New Yorker Radio Hour as both “the best thing about my life” and “objectively a really bad dog.” In publicity shots of Tolen- tino, Luna often appears next to her, looking endearingly unhinged. Their home is a small space a half-block from the Brooklyn-Queens Expressway, with a door leading to an overgrown backyard in which they used to throw parties until neighbors began leaving what one friend described as “ransom-style notes.” On the day I visit in May, Tolentino, who’s wearing a snakeskin miniskirt and a pink tie-dyed T-shirt, has made coconut cookies that sit in a neat pile on the coffee table in the living room/ dining room/kitchen, which is full but not cluttered, with bookshelves in every area they could feasibly fit, and a long table with a laptop and a desktop at one end that also serves as Tolentino’s office (and which they use

E L

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A M

U D

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TOLENTINO IN HER BROOKLYN

BACKYARD.

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PERSPECTIVES

occasionally for beer pong). On the brick wall behind it is a sign that reads “Drug-Free School Zone” alongside a faithful reproduction Tolentino made of “Monkey Jesus,” the Spanish fresco that became an internet phe- nomenon after a botched restoration attempt.

Tolentino herself has a buoyant personality, bleached hair whose color she once described as “champagne cocker spaniel,” and a voice just gravelly enough to be sultry. (She has few inhibitions about pursuing her side- line enthusiasms and has occasionally done voice-over work—she narrated a recent commercial for Square, the electronic payment system, and she can be heard explaining how to squeeze the most juice out of a lemon in a 2015 Lifehacker YouTube video.) She’s also enthu- siastic about wide-ranging bits of pop culture (lately this includes Lana Del Rey’s cover of Sublime’s “Doin’ Time,” the 1999 mockumentary Drop Dead Gorgeous, and Ocean Vuong’s wrenching novel On Earth We’re Briefly Gorgeous) and a lifelong insomniac.

She and Daley seem, in many ways, to be compatible opposites. He doesn’t read much, whereas Tolentino has compared her literary consumption to that of an indus- trial vacuum. He loves children to the extent that he vol- unteered at a day care in college; until recently Tolentino described her IUD as her most prized possession. (In June, she tweeted that she’d removed it.) She’s also “ex- tremely online,” as Daley puts it, whereas he has no social media and keeps up with her posts on Twitter, where she has 101,000 followers, by bookmarking her page.

There is a mythology that has grown up around Tolentino, and one rumor circulating is that her work doesn’t require any editing—the friend who told me this a few months back mentioned it in a hushed, almost horrified tone. When I asked her editor at the New Yorker, David Haglund, whether it was true, he said that it varies from piece to piece, but then con- firmed another rumor about her, which is that she’s never missed a deadline, at least not with him. “That’s the really upsetting one,” he says. “I think she turned her book in on time, too.” (“She did,” says her literary

agent, Amy Williams. “Of course she did.”)

Being around Tolen- tino, it can be hard to un- derstand how the different parts of her personality fit together. There’s the per- son who, when express- ing her ideas, speaks with such urgency it’s as if her mouth can’t keep up with her thoughts. Then there’s the person who, her legs tucked up underneath her on the sofa, tells me she smokes enough weed that now she sometimes forgets to smoke. “I used to have a sign up that was like, ‘Do you need to smoke weed?’�” she says. “I’ll go a week and be like, ‘Wait!

Weed’s been here this whole time?’�” Neither of these aspects seem false. They just don’t often coexist in a single person.

The questions of which sides of her personality are real and which are contrived, which of the stories she tells are trustworthy and which are self-serving, are ones Tolentino herself asks routinely. And one could argue that her awareness of our ability to deceive ourselves is exactly what makes her a clear-eyed observer of this moment. We live at a time, after all, filled with deep fakes and alternative facts, when reality itself shimmers with illusion and many long-standing assumptions no longer seem logical. “It’s hard to imagine anyone putting a pin into what’s going on,” Williams says. “There are no an- swers. If I’m going to trust anyone, it’s someone who’s doubting her own assertions.” Instead of offering more answers, Tolentino simply tries to chronicle her confu- sion with clarity, then questions that clarity, too. In the introduction to Trick Mirror, she explains that she writes in order to feel less confused, then continues, “It’s exact- ly this habit—or compulsion—that makes me suspect I am fooling myself. If I were, in fact, the calm person who shows up on paper, why would I always need to hammer out a narrative that gets me there?”

Tolentino often presents herself, in life and in her work, as both enthusiastic convert and impartial critic. This past March, for example, in a New Yorker feature about the activewear brand Outdoor Voices, she writes that, as research, she decided to adopt OV’s slogan, “Doing Things,” as a mind-set and regularly pursue exercise she enjoyed. Working out so much put her in a “terrific, if conflicted, mood,” she writes. Then she adds, “Am I taking care of myself, doing sun salutations in my motivational crop top, or am I running survival drills for life under an advanced capitalist economy? The answer, I’m sure, is both.” Two months later, Tolentino went hiking in Utah with a friend, and posted a series of photos on Instagram in which she’s wearing OV—one person commented, “#doingthings.” “I was like, ‘Fuck me,’�” Tolentino says. As for her experience of the trip, “You feel so lucky that this was colonized by Europeans, you know what I mean?” she says. “I don’t belong there. And the only reason I’m able to be there was because of this legacy of intense cruelty, right? I feel like one of the juxtapositions [of this era] is that what joy we have is predicated on being one of the lucky ones. And always at someone’s expense. What kind of joy is possible without ever forgetting that? I’ve been trying to figure out what kind of hope can be predicated on fatalism.”

While Tolentino was growing up in Houston, almost every aspect of her childhood seems to have been cali- brated to foster in her an ability to be comfortable in any environment—“fully, willingly present,” as she describes it—but also able to pick it apart. In the mid-1980s, her parents emigrated from the Philippines to Toronto, where she was born; they moved to Houston when she was four (she also has a younger brother). There, the family joined an evangelical megachurch that ran a small private school, which Tolentino attended (as did, years earlier, Ted Cruz), even though her parents were less stringently religious than those

ROUTINELY,

SHE’LL PULL

AT WHAT

APPEARS TO BE

A DISPARATE

THREAD AND

SHOW IT TO BE

PART OF A VAST

WEB IN WHICH

WE ARE ALL

ENTANGLED.

Tolentino’s debut book of essays,

Trick Mirror, touches on everything

from reality TV and optimization to the enduring wackiness

of weddings.

CONTINUED ON PAGE 359

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ASK E. JEAN

DEAR E. JEAN: I am 37, live in L.A., and am getting worried. I want a family, but all the guys I meet are inconsiderate and only interested in one thing. I meet many men who already have children, and most do not want more. Some don’t even want marriage. I worry that I can’t waste time. I’m afraid I’ll be 47 one day and my opportunity will have passed. Of course, a lot of people say to adopt, but I really want to carry the child. I’m sick of men telling me I’m too old!

—Hopeless in Tinseltown

Tinsel, My Turnip: Why let men dictate your future? If you are “sick of men” telling you that you’re “too old,” and if you want a baby, Miss Tinsel, have a baby. Go to a sperm bank. Or if you wish to wait and meet a decent chap with whom to have a baby, freeze your eggs. Ei- ther way, your future looks bright.

DEAR E. JEAN: What’s the right way to respond to getting hit on? I get everything from sweet compliments to dirty remarks. If a man is genuinely crossing the line, I com- pletely understand a strong response. But a lot of things women complain about these days don’t bother me. Call- ing a woman beautiful? Checking her out? Honestly, I tend to laugh things off. Is that the “right” reaction?

—Bad Feminist

Bad, My Darling: The only 100 percent guaranteed way to stop men from “crossing the line” is using a tranquil- izer gun. In the #MeToo era, each woman has to decide where her own line is and how firmly she will prevent each boss, preacher, teacher, coworker, old friend, and stranger from crossing it. She alone determines which reaction is “right” for her. And by each of us choosing for ourselves, we empower all womankind.

ASK A QUESTION!

Via email: [email protected]

Twitter: @ejeancarroll

Instagram: @ejeancarroll1

Read past columns:

ELLE.com/life-love/ask-e-jean

Want more Auntie E? You can watch videos, write with anonymity, and exchange genius tips on Advice Vixens at AskEJean.com. And if you’d like a book: What Do We Need Men For? A Modest Proposal.

ELLE’s beloved advice columnist

opens up about her very private battles,

only recently made public.

A D V I C E

A NOTE, DEAR READERS

WOMEN! YOU ARE FABULOUS! But it’s weird. I’ve been writing the Ask E. Jean col- umn for 26 years, and for 26 years I’ve been noticing that many of the problems coming into the column have been caused by one thing. And that cause is men.

Now, about 90 percent of the letters I receive don’t run in the magazine, you un- derstand. But according to a lot of my Ask E. Jean mail, when the chaps are not lying, cheating, and passing women over for promotions, they are being inconsiderate to letter writers like Miss Tinsel (see right), or pestering, groping, pawing, pinching, and vastly underpaying the Ask E. Jean correspondents.

So I came up with a scheme to do away with the lads entirely. But first, I had to find out if we needed chaps for anything, right? In 2017, I loaded up Miss Bingley (my old Prius) with Lewis Carroll (my poodle), and we set out together on a 4,099-mile road trip. We only went to towns named after women—Angelica, New York; Tallulah, Louisiana; Marysville, Ohio; etc.—and when we arrived in each city, Lewis and I jumped out of Miss Bingley and asked people, “What do we need men for?”

The answers were shocking, so shocking that I started to think about the men in my own life: the harassers, maulers, chumps, creeps, swindlers, stranglers, and dickweeds. And I made a list called “The Most Hideous Men of My Life List.” It is composed of the 21 most repulsive scoundrels I’ve ever met. The list appears in full in my new memoir, What Do We Need Men For? A Modest Proposal. We all have a Hideous List, correct?

You may have heard that number 20 is President Donald Trump. Though the book is funny, there are very dark moments, and coming forward to talk about what Mr. Trump did to me inside a Bergdorf Goodman dressing room is one of the most difficult things I’ve ever done.

Because for years, I’ve been telling Ask E. Jean correspondents to “stop blaming” themselves when they have been attacked. As recently as last month’s issue, I said, “Lord! I hate it when smart women are so quick to blame themselves.”

But for two decades, I’ve kept silent. And one of the reasons was that I’d convinced myself that what Mr. Trump did to me was my fault. I called myself “stupid.” I told myself that I “deserved” it.

If the great journalists Jodi Kantor and Meghan Twohey hadn’t written their New York Times piece about Harvey Weinstein, and if our fellow women across the nation hadn’t surged forth with #MeToo stories of their own, and if my wonderful Ask E. Jean correspondents hadn’t shaken me up and enlightened me every day, I would have spent the next two decades blaming myself.

So I’m confessing now to the women who deserve to hear my confession—my Ask E. Jean readers. It wasn’t my fault. Donald Trump did it. It hurt. I fought. It was against my will. GI

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#EffyMoments EffyJewelr y.com

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A N G E L I N A

J O L I E

S E P T E M B E R

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Jolie, an instrument-rated pilot, stands beside her own plane. She bought it when her son Maddox was young (the tail number is his initials and birth date). Jumpsuit, Stella McCartney, $1,850. Aviators, Dolce & Gabbana, $890. Hoop earrings, J. Hannah, $796.

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PHOTOGRAPHED BY ALEXI LUBOMIRSKI.

STYLED BY ELIZABETH STEWART.

F O R C E

O F

N A T U R E

A FIERCE STREAK OF INDEPENDENCE HAS ALWAYS EMBODIED THE LIFE AND WORK OF ANGELINA JOLIE. HERE, THE ACTOR AND CAMPAIGNER SALUTES ALL THE FREE-THINKING WOMEN WHO HAVE CAST THEIR SPELL UPON THE WORLD.

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280

what is it about the power of a woman free in mind and body that has been perceived as so dangerous throughout history? In the past, the Old Testament command “Thou shalt not suffer a witch to live” was taken literally. Tens of thousands of people were executed for maleficia, the alleged crime of evil deeds through magic, from the witch hunts in Europe to the Salem trials in America. The vast majority of these were women.

Like the ultimate conspiracy theory, anything you couldn’t explain— from a crop failing to a child falling ill—could be put down to the influence of a supposedly wicked woman. These were often destitute widows, eking out an existence as healers on the fringes of soci- ety, or younger women whose seductive powers could easily be attributed to magic.

Women could be accused of witchcraft for having an independent sex life, for speaking their mind on politics or religion, or for dressing differently. Had I lived in earlier times, I could have been burnt at the stake many times over for simply being myself.

The accusation of witchcraft has been used to control and silence women in almost all soci- eties and in every century. Joan of Arc was put to death by fire in fifteenth-century France for idolatry and heresy, including wearing men’s clothing. The initial charges against her included witchcraft, and she was accused of dancing near a fairy tree at night—textbook witchy behavior.

It is so ludicrous that it almost seems funny, until you consider that a woman dancing or singing in public is viewed as illegal or indecent in many countries today. Iranian girls who post videos of themselves dancing are challenging what the country’s law and religious dogma still deems unacceptable behavior for women, six centuries later.

Since time immemorial, women who rebel against what is considered normal by society— even unintentionally—have been labeled as un- natural, weird, wicked, and dangerous. What is surprising is the extent to which this kind of myth and prejudice has persisted throughout the centuries and still colors the world we live in.

It is startling how often women who run for political office in democratic countries are de- scribed as witches. Bring together a group of strong women, and before too long someone will brand them a “coven”—the technical term, to be clear, for a gathering of witches meeting at night to consort with the devil. Women who stand up for human rights in many countries are still labeled “deviant,” “bad mothers,” “difficult,” or “loose.”

In my work, I travel often to countries where I know that if I were a citizen there, my beliefs and actions as a woman could land me in jail or expose me to physical danger. Female human rights defenders across the world are incarcer- ated for their political views or for defending

themselves or others, with courage I can hardly imagine. For all our modern advances, the independence and creative energy of women is still frequently seen as a dangerous force to be controlled, often in the name of religion, tradition, or culture.

Consider the estimated 200 million women and girls alive today who have suffered genital mutilation. Or the approximately 650 million women and girls worldwide who were made to marry before they were 18 years old. Thousands of women and girls are murdered by family members in so-called honor killings each year, as a punishment for ex- ercising their own free will. And when thousands of Sudanese women took to the streets of Khartoum calling for free elections in their country this summer, the order went out to “break the girls,” leading to scores of alleged rapes by security forces.

None of this is to dismiss or downplay for an instant the terrible abuses against men and boys—including modern allegations of witch- craft. But looking across the world, we have to ask, Why is so much energy expended to keep women in a secondary position?

Looked at in this light, “wicked women” are just women who are tired of injustice and abuse. Women who refuse to follow rules and codes they don’t believe are best for themselves or their families. Wom- en who won’t give up on their voice and rights, even at the risk of death or imprisonment or rejection by their families and communities.

If that is wickedness, then the world needs more wicked women. But it is also true that women don’t wake up every morning wanting

to fight. We want to be able to be soft and nurturing and graceful and loving—not everyone is born to fight. And we don’t have magical pow- ers. What we do have is the ability to support one another, and to work with the many great men who value and respect women as their equals.

I think of a father whom I met the first time I went to an Afghan refugee camp in Pakistan, during the rule of the Taliban. He had been beaten so badly for sending his daughters to school that the whites of his eyes were yellow from the damage to his liver. I think of a Syrian husband I met whose wife became paralyzed after she was shot in the spine by a sniper. They were living in a refugee camp, with no posses- sions and nowhere to go, but I do not think I have ever seen a more loving couple or devoted husband. And I could not be prouder of my sons for the men they are becoming, the way they respect their sisters and are respected by them.

Who we are meant to be in life is something we all have to work out for ourselves. I think we can often go offtrack as women, because our instinct is to nurture or to adjust ourselves to society’s expectations. It can be hard to take the time to ask ourselves who we truly want to be—not what we think other people will approve of or accept, but who we really are. But when you listen to yourself, you can make the choice to step forward and learn and change.

I remember when that moment first came for me. I was in my twen- ties, meeting refugees in Sierra Leone during the closing stages of a brutal civil war. I understood for the first time the level of violence that exists in the world, and the reality of life for the millions of people affected by conflict and displacement. And I discovered my life’s work and purpose.

I often tell my daughters that the most important thing they can do is to develop their minds. You can always put on a pretty dress, but it doesn’t matter what you wear on the outside if your mind isn’t strong. There is nothing more attractive—you might even say enchanting—than a woman with an independent will and her own opinions.

With love to all the wicked women, and the men who understand them. —angelina

M A L E F I C E N T : , causing or capable of producing evil or mischief;

harmful or baleful [from Latin , from , wicked, prone to evil,

from , evil]. Malefice: (archaic), a wicked deed or enchantment.

O N A

L I G H T E R

N OT E ,

A Q U I C K-

F I R E RO U N D

W I T H

A N G E L I N A

FAVORITE

COMFORT

FOOD?

Tea and chocolate.

HOMEBODY

OR NOMAD?

Nomad.

THE ROLLING

STONES OR

THE BEATLES?

The Clash.

FAVORITE

COLLECTIBLE?

Books.

BEACH OR

MOUNTAIN?

Desert and jungle.

BOOTS

OR HEELS?

There is a time and a place for both.

BOWLING

OR BAKING?

Flying.

CAT OR DOG?

Two dogs. And a hamster. And a rabbit. And a snake. And a lizard.… Our home’s a menagerie.

ASPECT OF

YOUR LIFE YOU

ARE MOST

GRATEFUL FOR?

My children and my freedom.

MOST RECENT

SKILL YOU’VE

ACQUIRED?

Chopping wood.

UNFULFILLED

AMBITION?

Many—I feel I am at the beginning.

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Jacket, Celine by Hedi Slimane, $3,950.

Hoop earrings, J. Hannah, $796.

BEAUTY TIP

Go for the unexpected with Mon Guerlain

Eau de Parfum Intense ($143); it’s sweet on

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patchouli underneath.

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Angelina with her dogs, a rottweiler and a pit mix from a shelter, who were chosen as puppies by her eldest sons. Dress, belt, both, Dior. Bracelets, $6,600–$8,750 each, ring, $3,050, all, Cartier. Pumps, Jimmy Choo, $595. Vintage earrings.

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Trench coat with cape,

Burberry, $4,190. Hoop earrings,

Rosantica, $154.

BEAUTY TIP

Wear a deep ruby lip for a

hint of darkness. Try Guerlain

KissKiss Matte Hydrating Matte

Lip Colour in Wild Plum ($37).

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Trench coat, Galvan, $1,495. Earrings,

Bulgari. Bag, Celine by Hedi Slimane,

$2,250. For details, see Shopping Guide.

Hair by Adam Campbell at the Wall Group; makeup by Toni G for Joe Blasco

Cosmetics; manicure by Emi Kudo for OPI; set design by

Jack Flanagan at the Wall Group; produced by Nathalie Akiya at Kranky Produktions.

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Jacket, $3,380, skirt, $1,945, both, Simone Rocha.

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A R E C I P E F O R T H E P E R F E C T I T A L I A N G E T A W A Y : T A K E O N E P A R T L U S H L A N D S C A P E S ,

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P H O T O G R A P H E D B Y C O L E S P R O U S E . S T Y L E D B Y N A T A S H A R O Y T .

T U S C A N S U N

U N D E R T H E

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Dress, Louis Vuitton.

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Draped top, $2,600,

pants, $795, slides,

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Dress, Dolce &

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Belts, both, St. John,

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Dress, Marni, $2,650.

BEAUTY TIP

Give lips a juicy wash of color with L’Oréal Paris Colour Riche Shine Lipstick in Luminous Coral ($10).

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Bodysuit, skirt, ring, all, Dior.

Earring, KatKim, $1,400. Pendant

necklace, Gurhan, $5,950. Rings,

Foundrae, $1,295–$7,085

each. Belt, St. John, $595.

Anklet, Ancient Greek Sandals,

$85. Sandals, Amanu, $275.

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Dress, $2,650, skirt, $690, belted apron skirt,

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Booties, Martiniano, $463.

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297

Dress, $3,200, pumps, $970, all, Bottega Veneta. Rings, all, Foundrae, $1,295–$7,085 each. Anklet, Ancient Greek Sandals, $85.

BEAUTY TIP

The blend of sweet almond, olive, and sesame oils in Mary Kay Naturally Nourishing Oil ($48) leaves skin dewy and hydrated.

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Dress, Valentino,

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BEAUTY TIP

Deeply hydrate hair with OGX

Replenishing + Water Drops 8-in-

1 Spray ($9).

Dress, Prada, $6,660. Ring,

Foundrae, $2,850.

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Dress, Brandon Maxwell, $2,795.

Belts, both, St. John, $595 each.

Rings, all, Foundrae, $1,295–$7,085 each. Booties,

Martiniano, $463. Stylist’s own scarf.

For details, see Shopping Guide.

Hair by Pasquale Ferrante at the Wall Group; makeup by

Laura Dominique at Streeters; model:

Lindsey Wixson at the Society Management;

produced by Maurizio Antonini at

Interlinea Film; special thanks to Locanda

dell’Amorosa, Tuscany.

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SERVICE

HEAD-TURNING

LIP COLOR

IS INTENSE YET

WEIGHTLESS

THANKS TO BOLD

NEW FORMULAS

BY PETER

PHILIPS, CREATIVE

AND IMAGE

DIRECTOR FOR

DIOR MAKEUP.

IN OTHER WORDS,

YOU’RE MADE

IN THE SHADE.

PHOTOGRAPHED

BY RICHARD BURBRIDGE.

STYLED BY JESSICA

DOS REMEDIOS.

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After filling in lips with

matching liner, Philips applied

Dior Rouge Ultra Care in Charm

($38), a lush, velvety pink with a highlighter finish.

Coat, Rachel Comey, $725.

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Lipstick, Dior Rouge Ultra Care in Violet, $38. Coat, N°21 by Alessandro Dell’Acqua.

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For a classic red, Philips used Dior Rouge Ultra Care in Bloom ($38). The formula’s Camelina and jojoba oils condition lips.

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Philips combined Dior Rouge Ultra Care in Jungle with Dior Rouge Ultra Care Liquid in Wonder ($38 each) to create a deep, rosy nude. Dress, Claudia Li, $1,295.

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Lipstick, Dior Rouge Ultra Care in

Bliss, $38. Coat, Piazza Sempione,

$1,695.

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Philips buffed the edges of Dior Rouge Ultra Care in Violet and Dior Rouge Ultra Care Liquid in Fantasy ($38 each) for a berry-stained ombré effect. Sweater, Priscavera, $465.

Hair by Brian Buenaventura at the Wall Group; makeup by Peter Philips for Dior; manicure by Maki Sakamoto at the Wall Group; models: Lilla, Jessica Strother, and Alyssa Traoré, all at IMG.

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Lipstick, Dior Rouge Ultra Care Liquid in Fantasy, $38. Gown, Jonathan Cohen, $2,985. For details, see Shopping Guide.

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U R B A N

P A C K I N G A S M U C H S U B S T A N C E A S S T Y L E , T H E S E C I T Y

G I R L S A R E E X P E R I M E N T I N G W I T H F A S H I O N I N I T S M O S T M O D E R N , P O W E R F U L F O R M S .

P H O T O G R A P H E D B Y M A T T H E W K R I S T A L L . S T Y L E D B Y R E B E C C A D E N N E T T .

L E G E N D S

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THIS PAGE:

Top, Khaite, $1,880. Skirt, $2,950, boots,

$1,150, all, Marni. Boots (in hands),

Emporio Armani.

OPPOSITE PAGE:

On both: Scarves, both, Loewe,

$590–$690 each. Sweaters (at waist),

both, Rokh, $362 each. Left: Shirt, Etro, $730. Skirt,

Lanvin, $1,690. Right: Dress, Rokh, $870.

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Left: Trench coat, Ellery, $2,890. Skirt, Rokh, $735. Boots, Chloé, $1,495. Center: Jacket, A.W.A.K.E. Mode, $1,323. Skirt, Ellery, $1,180. Boots, Proenza Schouler, $695. Right: Cape, Miu Miu, $13,600. Boots, Toga, $1,220.

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Left: Blazer, Polo Ralph Lauren, $598. Shirt, Etro, $1,010.

Jeans, Wales Bonner, $960. Belt, Alberta

Ferretti, $450. Boots, Max Mara, $865.

Center: Shirt, Rosie Assoulin, $595.

Pants, Ellery, $2,690. Boots, Chloé, $1,495.

Right: Top, Alberta Ferretti, $1,450. Pants, Altuzarra,

$1,850. Belt, Hermès, $1,800. Boots, Chloé, $1,250. On all: Cross-

body straps, Dior.

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Bodysuits, $770 each, tights, $140, all, Fendi. Earrings, Elsa Peretti for Tiffany & Co., $2,300. Boots, JW Anderson.

BEAUTY TIP

Sculpt edges with Carol’s Daughter Black Vanilla Edge Control Smoother ($8).

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OPPOSITE PAGE:

Bodysuit, $9,900, skirt, $6,900, both, Burberry.

THIS PAGE:

Cardigan, Max Mara, $940. Trousers, Rejina Pyo, $695. Earrings, Arman Sarkisyan, $6,960. Belt, Hermès, $1,800. Bracelet, Adam Foster Fine Jewelry, $14,800. Boots, Chloé, $1,495.

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Dress, Coach 1941. Bodysuit, Collina Strada, $300. Sneakers, Collina Strada x Hoka.

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Left: Robe, Wales Bonner

x Eric N. Mack. Right: Dress,

Lanvin, $4,990.

BEAUTY TIP

Garnier Fructis Curl Treat Jelly

Shaping Leave- in Styler ($8)

keeps curls bouncy all day.

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Top, skirt, $3,900, both, Salvatore Ferragamo. Necklace, Gurhan, $4,950. Belt, JW Anderson, $350. Boots, Toga, $1,220.

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Jacket, top,

pants, belt, all,

Louis Vuitton.

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Jacket, $8,200, skirt, $1,790, handbag, $2,790, all, Fendi.

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Top, $575, apron top,

$834, pants, $840, all,

Marine Serre. Earrings,

Isabel Marant, $460. Ring,

Marlo Laz, $4,800. Ring,

Foundrae, $2,850.

Platforms, Louis Vuitton.

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Left: Dress, $670, shirt, $1,280, skirt, $720, all, Paco Rabanne. Earrings, Ellery, $420. Handbag, Chanel, $3,225. Ring, Arman Sarkisyan, $5,820. Band, Foundrae, $1,295. Right: Jacket, $6,990, top, $890, both, Michael Kors Collection. Skirt, Rosie Assoulin, $1,295. Handbag, Hermès, $12,000. Ring, Marlo Laz, $4,800. Ring, Givenchy. For details, see Shopping Guide.

Hair by Helen Reavey for Act+Acre; makeup by Chiao-Li for M.A.C; manicure by Riwako Kobayashi for Chanel; casting by Shaun Beyen; models: Alanna Arrington, Callie Dixon, and Luisana Gonzalez, all at Next Models; produced by Hillary Foxweldon at kf Production.

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MAINSTAYS,

M I X-A ND-MATCH

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Sweater, $1,150,

shirt, $750, skirt, $990,

handbag, $1,490, boots,

$1,550, all, Victoria

Beckham.

P H O T O G R A P H E D B Y T E R E N C E C O N N O R S .

S T Y L E D B Y M A R I N E B R A U N S C H V I G .

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Blazer, $1,990, blouse, $990, both, Michael Kors Collection.

BEAUTY TIP

For flawless skin, use L’Oréal Paris Infallible Fresh Wear Foundation ($15).

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Coat, $4,990, jacket,

earrings, pumps, all, Givenchy.

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Dress, belt, handbag, platforms, all, Louis Vuitton. Socks, Marc Jacobs.

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Top, $3,490, skirt, belt,

$1,995, all, Saint Laurent

by Anthony Vaccarello.

Hoop earring, Charlotte

Chesnais, $940 (for pair).

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Blouse, $2,195, skirt, $1,995, glasses, $335, earrings, $420, necklace, $1,475, handbag, $1,690, boots, $1,250, all, Chloé.

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Blouse, $1,850, skirt, $1,850,

earrings, $495, necklace, $795, all,

Balenciaga.

BEAUTY TIP

Protect and hydrate during long summer

days in the sun with Lancôme

UV Expert Aquagel Defense

SPF 50 ($39).

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Jacket, blouse, skirt, boots, $2,200, all, Celine by Hedi Slimane.

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Jacket, $3,990, shirt, $1,290,

pants, $995, all, Akris. Turtleneck,

Isabel Marant, $275. Boots,

Chloé, $1,350. For details, see

Shopping Guide.

Hair by Quentin Guyen for Redken;

makeup by Kathy Le Sant at

Call My Agent; model: Theresa

Hayes at Ford Models; produced by Marie Fioriti at Frenzy Pictures.

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Jacket, top, jeans, $760, pumps, $2,190, all, Balmain.

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P H O T O G R A P H E D B Y

C A R I N B A C K O F F .

S T Y L E D B Y P A U L C A V A C O .

T H E

I T A L I A N

J O B

O N T H E

S A R T O R I A L

M E N U

A T F O R L I N I ’ S ,

N E W Y O R K ’ S

M O S T

I N S T A G R A M M A B L E

R E D – S A U C E

J O I N T ? S W E E T

P A S T E L S

A N D A B U N D A N T

S E Q U I N S .

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Dress, Prada, $4,180.

BEAUTY TIP

Boost your blond with a weekly brightening cream, like Garnier Nutrisse Ultra Color Nourishing Anti-Brass Treatment ($9).

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Top, $4,750, pants,

$6,300, platforms, $1,450, all,

Chanel.

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Dress, Dolce & Gabbana, $2,845.

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Dress, $2,400, slipdress, $1,500,

tights, $225, necklace, $725, pumps, $1,075,

all, Versace.

BEAUTY TIP

The warm tones in the Lancôme

Hypnôse 5-Color Eyeshadow

Palette in Terre de Sienne ($50) make for a sexy,

smoky eye.

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Dress, $12,000, tights, $265, both, Gucci.

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Cardigan, $995, skirt, $895,

leather apron skirt, $1,900, all, Alexanderwang. For details, see

Shopping Guide.

Hair by Ben Skervin for Oribe; makeup by Fulvia Farolfi for Chanel; manicure by Gina

Edwards for Chanel; model: Candice

Swanepoel at Creative Artists Agency;

produced by Joy Hart at JN Production; special thanks to

Forlini’s, New York.

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348

T H I S S E A S O N ’ S D O O R W A Y - D E F Y I N G S I L H O U E T T E S W E R E N ’ T J U S T A R U N W A Y S T A T E M E N T .

T H E Y W E R E A R E C L A M A T I O N O F F E M A L E P O W E R .

here is a scene in Knock Down the House, the award-winning documentary that tracks four women running for Congress in 2018, in which Alexandria Ocasio-Cortez is sit- ting on the couch in her living room, breath- ing deeply. In only a few hours, the then 28-year-old bartender from the Bronx—and complete newcomer to politics—must go on live TV and debate 10-term Democratic congressman Joe Crowley in an attempt

to unseat him from his position. It will not be an easy or necessarily pleasant task. She closes her eyes, extends her arms above her head, and exhales. “I need to take up space, I need to take up space,” she says, waving her arms around her. “I am here.”

In the debate, Ocasio-Cortez challenges Crowley on the issues affecting their constituency with such confidence that you would never know that she’d had any doubts or fears at all. As it turned out, her mantra worked, both figuratively and literally. And it was a re- latable one. Women from all walks of life, and in every industry and profession, have been fighting for their right to take up space since long before the 2018 primary races, and will continue to do so long after. Whether in the institutions that barred us, the sports that said we weren’t worthy, the voting booth, the workplace, or the White House, every day and everywhere, women are asserting their right to be in the room, at the table, and directing the conversation. The fight extends to the quotidian as well: We resist manspreading on our commutes, mansplaining in our offices, and taking on the lion’s share of emotional labor in our homes. And when words are simply not enough, what we wear can convey silent but impactful protest.

For example, and most simply: No. That was only one of several messages emblazoned on the oversize tulle dresses presented at Viktor & Rolf’s spring couture show. The dress was as big as a tiny house, one that would require walls to be knocked down and doors to be taken off hinges upon the wearer’s arrival. An enormous, funereal, almost Victorian black gown bore an out-of-place sunny graphic saying, “I want a better world”: idealism emerging from

grim reality. A third, with shoulders stacked up threateningly to the model’s ears, said: “Leave me alone.”

Larger-than-life, over-the-top, and literally space-occupying looks that emphasized a woman’s right to be in the room were everywhere on the fall 2019 runways. Just call it womanspreading. In Moncler’s Genius capsule collection with Pierpaolo Piccioli, traditional puffer silhouettes became inflated, a voluminous announcement of woman- hood. While enormous skirts unfolded and expanded around models like sinister bouncy castles, heads, necks, and torsos were enrobed in bulging armor that telegraphed a readiness for battle. The looks served as a sartorial defense mechanism, the fashion equivalent of a banner declaring, “We’re here, and we will not be ignored.” The effect made its way onto the red carpet as well: Lady Gaga wore a cornflower-blue Valentino gown with balloon sleeves and a gener- ous train to accept her Golden Globe for A Star Is Born. What better visual proof that—as they say in show business—Gaga, as auteur and near-EGOT, had arrived?

At Alexander McQueen’s and Marc Jacobs’s shows, the message was just as loud, with feminine colors, flowery appliqués, outsize ruf- fles, and delicate fabrics in hulking sizes and shapes that seemed to embrace the message that femininity, in all its forms, is fearless. And at Burberry, Riccardo Tisci crafted a puffer jacket whose prevailing mood was something like Joan of Arc going to war clad in a sleeping bag.

This movement toward all things oversize has its roots in past feminist waves. Suffragettes marching for the right to vote donned all white as a savvy ploy to get media coverage for their cause. Katharine Hepburn challenged the idea that a movie star must be “ladylike” by wearing slacks in the 1930s, when women could still be arrested for doing so. When women flooded the workforce in the 1980s, shoulder pads became a symbol of assertiveness in the boardroom. It stands to reason, then, that in this particular era, when women are fighting back against the forces that hope to keep us down, in numbers that we have hardly ever seen, we should want to communicate that we will not be backing down, not saying we’re sorry, and not shrinking to make anyone else more comfortable. You’d just better hope the room is big enough to contain us. ▪

B Y D A Y N A E V A N S . P H O T O G R A P H E D B Y Z O E Y G R O S S M A N . S T Y L E D B Y C H A R L E S V A R E N N E .

B I G T H I N K

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Sequin dress, $3,486, bodysuit, both, Richard Quinn.

BEAUTY TIP

Define your arches with a powder-finish pencil, like Merle Norman Powder Brow Pencil in Soft Black ($12).

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Ruffle one-piece,

Noir Kei Ninomiya,

$5,885.

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Silk organza gown, Marc

Jacobs, $12,000.

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Silk taffeta dress, belt,

$1,445, boots, $1,340, all, Alexander McQueen.

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Tulle gown, Zac Posen, $10,990. Brogues, Simone Rocha, $1,040.

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Ruffle top, skirt, both,

Tomo Koizumi.

BEAUTY TIP

Flawless skin is the best backdrop for pops of color,

and a touch of Covergirl TruBlend

Undercover Concealer ($8)

goes a long way.

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Dress, bow, both, Vaquera. For details, see

Shopping Guide.

Hair by Brent Lawler for Oribe; makeup

by Tyron Machhausen for Chanel; manicure

by Mar y Sol for Essie; casting by Richard

Blandino; model: Tami Williams at the Society

Management; produced by Elise Connett

at 143 Productions; location: The Square

Diner, Tribeca.

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TRAVEL

n February 2017, Senator Mitch McConnell unknowingly coined the year’s motto: “Nevertheless, she persisted.” He was referring to Senator Elizabeth Warren, but the phrase could just as easily apply to this month’s travel destination, the former French commune of St. Barthélemy (colloquially, St. Barts), which would need Warren’s fighting spirit when Hurricane Irma devastated the region just seven months

later. When an island’s main industry is tourism, as it is for St. Barts, tropical storms both pose an immediate danger and threaten a commu- nity’s ability to sustain itself in an increasingly volatile future. But two years out, St. Barts is back in business despite (or perhaps in the face of ) its existential threat.

“St. Barts provides the essentials of escapist travel, with its topograph- ic beauty and extreme privacy,” says ELLE’s editor-in-chief, Nina Garcia, who visited with her family in March. The island’s high season starts in late fall, ushered in by the sixth annual St. Barts Gourmet Festival (No- vember 6 to 10) and the Cata-Cup regatta (November 20 to 24), the first

Plan your wintertime escape, pronto. The Caribbean island, known as a warm-weather getaway for the

elite, has rebounded from the 2017 hurricane (and roughly $1.1 billion in damage). By Brianna Kovan

in a series of yachting events that span the winter months. By late April, most jet-setters have returned north.

Located due east of Puerto Rico, the 9.6-square-mile island got its name from Christopher Columbus, who in 1493 landed on its white-sand beach and dedicated his “finding” to his brother Bartoloméo. But while the pillaging explorer’s stock has fallen, St. Barts’ has done the opposite. Take the Eden Rock resort, which will officially reopen in November. Now owned by Pippa Middleton’s in-laws, Jane and David Matthews, the 1950s destination has housed many a celebrity, and provided a record- ing studio for artists such as Jimmy Buffett. Other hotels, like the inland Villa Marie Saint-Barth (pictured above), have been running for about a year. “Villa Marie embodies the island’s laid-back luxury without com- promising on excellent service and comfort,” says Garcia of the five-star resort, which sits on the island’s northwest hills. Enjoy the internationally sourced decor, such as vintage rattan furniture and eccentric bird sculp- tures, and don’t miss the on-site restaurant, François Plantation, which offers the French favorites of sole meunière and a Grand Marnier soufflé.

S T . B A R T S

356

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E AT Plan for dinner at Orega (@oregastbarth), a four-year-old hybrid of Japanese and French cuisine in St. Barts’ capital city, Gustavia. It offers inventive fish dishes, an omakase sushi menu, and alfresco dining.

H I K E Take a 20-minute drive east of Gustavia to climb Mount Vitet, St. Barts’ highest point at 938 feet, which promises 360-degree views of the island. (Before you start, pick up a map at the tourist bureau.)

P I C N I C Make a pit stop at Maya’s To Go (@mayastogo), the takeaway offshoot of a local dinnertime staple, Maya’s. The island hot spot carries Creole picnic fare, like sandwiches and fingerling potatoes.

W h a t

t o D o

PINROSE SUN SAINT EAU DE PARFUM TRAVEL SPRAY,

$27, PINROSE.COM

AETHERA SUNRISE SERUM WITH CANNABIS SATIVA,

$30, AETHERABEAUTY.COM

LIGNE ST. BARTH AVOCADO OIL, $65, BEAUTYHABIT.COM

CLOCKWISE FROM TOP LEFT, VIEWS OF THE VILLA MARIE SAINT-BARTH: POOLSIDE AT THE FRANÇOIS PLANTATION RESTAURANT; A SHADED COMMUNAL PORCH; OCEAN VISTAS FROM THE MASTER VILLA PISCINE.

ALAMAR COSMETICS REINA DEL CARIBE VOL.1

EYESHADOW PALETTE, $28, ALAMARCOSMETICS.COM

B e a u t y

P i c k s

Breathe in the

very Caribbean

combination of

coconut and

lime, courtesy of

tropical botanicals.

SUNGLASSES, TOM FORD, $475, TOMFORD.COM

SWIMSUIT, JACQUEMUS, $240,

MODAOPERANDI.COM

TOTE BAG, ALTUZARRA,

$995, ALTUZARRA.COM

SANDALS, HERMÈS, $650, HERMES.COM

DRESS, LISA MARIE FERNANDEZ, $695,

MATCHESFASHION.COM

W h a t

t o W e a r

Opt for a sartorial

palette that mimics

the island locale.

NECKLACE, GIGICLOZEAU, $975, GIGICLOZEAU.COM

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L A

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HOROSCOPE

VIRGO Aug 23–Sept 22

Quitting corporate life entirely might not be feasible (yet), but you can pause the capitalist hamster wheel to carve out time for yourself and your passions. Action- planet Mars zooms through your sign, accompanied occasionally by the Sun, Venus, and Mercury. Expect clarity by the 28th’s new moon. Looking for love? Reserve the 14th for Cupid, when the full moon activates your love jones.

LIBRA Sept 23–Oct 22

Leisurely Libras needn’t rush back to the September grind. With three planets snoozing in your transitional twelfth house until midmonth, you might as well extend beach time. On the 14th, an inspired full moon reboots your industrious mind-set. Then, near month’s end, chatty Mercury and your ruler, vivacious Venus, shimmy into Libra on the same day (followed by the Sun), making you a beacon of creativity and amour.

SCORPIO Oct 23–Nov 21

Your innovative nature is out in full force this month. Experiment with new schools of thought, and expand your social horizons. On the 14th, the Pisces full moon spotlights your talents (and also reveals a gushing fan). When Libra season begins on the 23rd, curate and simplify. But before then, don’t limit yourself!

SAGITTARIUS Nov 22–Dec 21

With a celestial summit in your career zone, you’ll enter the fall like a boss. After the 14th, break away from deskside demands to nurture business relationships. Efforts pay off on the 18th, when Saturn snaps out of retrograde. Upgrade digital devices near the 28th’s tech- savvy new moon, but don’t try to learn it all. Collaboration is what will ultimately keep you ahead of the pack.

CAPRICORN Dec 22–Jan 19

Scalability is Caps’ word of the month, as everything you do begs to be bigger and wider-reaching. And when your ruler, power broker Saturn, corrects course on the 18th, you’ll be back in your ambitious element. How can you expand your empire without making more work for yourself? Unleash your imagination. A digital product or a savvy partnership could emerge near the 14th’s full moon.

AQUARIUS Jan 20–Feb 18

Concentrate on playing detective during the first half of September: Is an opportunity legit? Are your feelings reciprocated? Stop short of text snooping, as you’ll get your answer by the time Libra season begins on the 23rd. After that, shift your GPS to adventure mode. Say yes to any travel opportunities that pop up near the 28th’s new moon.

PISCES Feb 19–Mar 20

You can be half of a dynamic duo without compromising individuality. On the 14th, the annual full moon in Pisces will prove just that. Before then, be intentional about relationship building: You’ll click with an attractive opposite in early September, but after the 23rd, power dynamics could upset the equilibrium. Shift responsibilities to accommodate each other’s strengths.

TAURUS Apr 20–May 20

If animal instincts align (a must for tactile Taureans), forge ahead fearlessly while dating. You’ll find out by September’s close if your passion is reciprocated. Coupled Bulls are keen to co-create. Whether making babies or starting a band, be aware of power imbalances, and seek to harmonize. After the 18th, your regimented nature resumes command. Organize your inbox, and get back to the gym.

GEMINI May 21–June 21

September’s stars activate your nesting instincts, and the 14th’s full moon heralds career developments long in the making. On the 23rd, your festive, romantic spirit returns with Libra season, and with Venus chiming in, some titillating developments in the love department are due by the new moon on the 28th.

CANCER June 22–July 22

No matter how alone you feel, know that you’re surrounded by capable, talented people. All month long, they’ll trip over themselves to bond with you. Ponder their proposals without letting cynicism creep in. Once Saturn ends its five- month retrograde on the 18th, you’ll cement long-lasting partnerships. A new living (or office) arrangement may be part of the deal, thanks to the 28th’s new moon.

LEO July 23–Aug 22

Count your coins, Leo, because it’s time for some postbirthday belt tightening in early September. But then the 14th’s full moon could reveal an asset worth investing in, and new income streams could roll in after the 18th, so talk to HR about growth opportunities at your 9-to-5. Romantically, a flirty friendship could evolve into something more defined by month’s end.

BY THE ASTROTWINS,

TALI AND OPHIRA EDUT

ARIES Mar 21–Apr 19

With your wellness zone lit by a quartet of nurturing planets, ease into autumn health-first. When Saturn turns direct on the 18th, you’ll be ready to roll up your sleeves and hustle again. The 14th’s full moon could deliver a fairy-tale moment—or shatter an illusion. Distinguishing fantasy from reality will help you choose your next step by month’s end.

“ T H E B L U E S A P P H I R E [ S E P T E M B E R ’ S

B I R T H S T O N E ] R E M I N D S M E O F L AT E -

S U M M E R N I G H T S W H E N Y O U S TA R E AT

T H E M I L K Y W AY A N D R E A D T H E S TA R S .”

— D E S I G N E R A N D J E W E L E R E L I E T O P

DIAMOND AND SAP- PHIRE EARRINGS, ELIE TOP, ELIETOP.COM

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of many of her peers. “They wanted me to go to a good school,” she says. “It just happened to teach creationism.” Tolentino also began first grade early, making her about two years young- er than her classmates, and the school was mostly white and wealthy, whereas for about half her time there, she was on scholarship. “As long as I can remember, I was completely different from everyone around me,” she says. “Yet because of my temperament, I was com- pletely at home.”

A cheerleader and the salutatorian, Tolenti- no rebelled, slightly. She appeared three times in Fiddler on the Roof, a musical she loves, but also thought it was funny, in the mournful end- ing, to lie down on the floor and pretend to be dramatically giving birth. “Everyone knew Jia was the smartest person in our class by a million miles,” says Robert Doty, a friend who was in her grade. “And she was always a good student, so the teachers liked her, but they hated that they couldn’t control her.” In an essay from Trick Mirror that somehow manages to braid together her school, religion, the drug Ecstasy, and a type of remixed Houston hip-hop called “chopped and screwed,” Tolentino recalls that during her graduation speech, she broke from what she’d prepared and made jokes, including one referencing the fact that students referred to the church as “The Repentagon.” But she also writes, “I’ve always been glad that I grew up the way that I did. The Repentagon trained me to feel at ease in odd, insular, extreme envi- ronments…and Christianity formed my deepest instincts.” It is, for example, a big part of why the question of how to engage ethically in an ethically compromised world informs so much of her work. “Writing, for her, is a moral act,” Haglund says.

She got into Yale University early admission, but during her senior year of high school, she learned that her parents were facing money problems, and that once she was out of the house she’d have to be financially independent. This was right before she left to film Girls v. Boys: Puerto Rico (she’d convinced her school to let her have three weeks off by saying she hoped to “be a light for Jesus, but on television”). Once she returned to Texas, she applied for and then accepted a full merit scholarship to the Univer- sity of Virginia.

In college, Tolentino joined a sorority and was an English major. She was also part of an a cappella group called the Virginia Belles—in the evidence that still exists on YouTube, her voice is sweet and slightly throaty. The fact that she is skilled at so many things actually became a joke within the group. Daley went to UVA as well, and initially encountered To- lentino at an a cappella concert. “Someone had put together a video basically making fun of Jia

for being supersmart and incredibly talented, but also loving dumb things,” he says. “It was meant to take place 20 years in the future and showed that Jia had cured cancer, and Jia had solved global warming, and Jia had won a Pulitzer Prize.”

“I’ve had the exact same personality since I was three,” Tolentino says. “Like, the exact same.” Her views, however, have changed. While growing up, “I probably considered myself a libertarian,” she says, and she didn’t call herself a feminist until after college. She’s now a progressive who has a whole essay in Trick Mirror about (among other things) how she doesn’t want to get married. She remains able to relate to people who disagree with her, though. “I don’t even want to know how many of the people we graduated with are Trump supporters,” Doty says. “But she found a way to love those people and still does—a lot of them. I think that what Jia fundamentally understands is that human love is messy and weird. And she likes it that way.”

When it comes to getting along with differ- ent sorts of people, it likely helps that Tolentino is quick to make herself a punch line, is earnest- ly into internet memes, and doesn’t often lead with her intelligence. “There is a huge portion of me that is very legitimately stupid,” she says. “If we had met this weekend, when I was at this music festival in Gulf Shores, Alabama, you’d be like, ‘This girl’s a fucking idiot.’�” Though her acceptance has limits. At the festival, her friends went to a party where there was an NFL player who asked, as part of a game, what was something every man hates—the answer was “feminists.” “That dude, I’m done with him forever,” Tolentino says. “At the same time, I was partying with him all night.”

fter college, Tolentino joined the Peace Corps and in- tentionally didn’t request a country, hoping to be sent wherever she was needed. She ended up in Kyrgyzstan,

which she later described in The Awl as “a post-Soviet, syncretically Muslim, rapidly glo- balizing country in Central Asia that looks like a combination of Switzerland and the moon.” The experience “flattened me,” she says. A week after she arrived, there was a coup, and she and other volunteers were evacuated to an American air base. Later, in her village, Tolen- tino was confronted by deep poverty—there was no running water and never enough heat, and she was haunted by the memory of a $27 cocktail she’d once ordered, she wrote in The Billfold, “as I watched my tiny, hungry host siblings divide every meal.” She ended up leav- ing early, with the program’s encouragement,

partially because she broke a few rules, and also because she’d frequently been sexually harassed (bride kidnapping still occasionally occurs in the country, and it didn’t help that To- lentino was sometimes assumed to be Kyrgyz). Doty says she was different when she returned. “There was a seriousness to her,” he says. “I think it made the world more real.”

Tolentino only included a few pages about Kyrgyzstan in the book, partly, she says, because she didn’t take notes while she was there. “It’s hard to be like, ‘Here’s what happened to me today,’�” she says. “You feel like an asshole.” Still, these passages are memorable. “She writes with such sympathy for the way all of us have to bear up under endless performative demands,” says the writer Gideon Lewis-Kraus, another friend of hers. “But she seems to move between the various performances required of her with such fluidity and ease. When she writes about Kyrgyzstan, that’s one of the rare moments she seems genuinely destabilized.”

Back in the U.S., Tolentino applied to the fiction MFA program at the University of Mich- igan, received a fellowship, and moved to Ann Arbor with Daley. The first short story she sub- mitted anywhere ended up getting published in the literary journal Carve, winning the 2012 Raymond Carver Contest and being nomi- nated for a Pushcart Prize. But even as many of her classmates focused solely on fiction, Tolentino pitched a series of interviews with adult virgins to The Hairpin, the beloved idio- syncratic, now-defunct women’s site. When Emma Carmichael became its editor-in-chief, she hired Tolentino as a contributing editor and they became close, despite mostly running the site via Google Docs and Gchat. “It was like having a pen pal,” Carmichael says. A year later, they finally hung out in person at SXSW, where they shared an air mattress at an Airbnb mutual friends had rented. “The house was a complete disaster zone,” Carmichael says. “We broke the hot tub.” Patel, who was already close with Car- michael, met Tolentino for the first time at that SXSW, too, and assigned her to write a review of a ScHoolboy Q performance for Spin, where she was editing at the time. “The next day she couldn’t file,” Patel says. It remains the only deadline Tolentino has ever missed.

In 2014, when Carmichael began running Jezebel, she hired Tolentino as deputy editor (she moved to New York from Ann Arbor two days before starting the job), and she rapidly established herself as a writer with almost be- wilderingly broad abilities. She could be fun- ny; she could construct pieces that combined reporting with personal history (as she did in a piece covering Rolling Stone’s debacle of an article about rape at UVA); and she could write essays exploring the expectations people have

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of Jezebel itself, as she did in one titled “No Offense,” which began, “It’s strange to edit a feminist website when almost nothing offends you, because the feminist website is tradition- ally imagined to run on offense.”

Soon, she was regularly turning down other job offers, in part due to loyalty to Carmichael, who by then was not just her best friend and boss, but had also been involved in a serious car accident in the summer of 2015 that had landed her in the hospital for six weeks, at which point Tolentino had stepped in to run the site. Mean- while, Gawker Media, the company that owned Jezebel, was embroiled in a lawsuit involving a Hulk Hogan sex tape that ultimately led it to file for bankruptcy. (Tolentino once described the period as “maniacally strange.”) “But I also think she realized it was a time to have fun be- fore she became one of the voices online that people turn to in order to be told how to think,” Carmichael says.

The offer to write for the New Yorker was different, though. “I was like, Yes, absolute- ly. Are you fucking kidding me?” Tolentino says. She began her new job in July 2016; four months later, Trump was elected. “I felt use- less and agitated and confused, like everyone did,” she says. “I was like, ‘What is a way I can

feel all these things for a good purpose?’�” Her conclusion was to write a book, and she landed a deal that summer while reporting from the Cosby trial, running outside the courtroom to talk to editors.

For the next 18 months, she worked on Trick Mirror most weekends and some weeknights. Early responses have been rapturous. It’s been blurbed by Zadie Smith and Rebecca Solnit, who called Tolentino “the best young essayist at work in the United States.” The starred Kirkus review declared that it positioned Tolentino as “a key voice of her generation,” though she shrugs this off. “I think it’s a subject matter thing,” she says. (“It’s broader than that,” Wil- liams says. “She’s writing about things we all live with.”)

The anal cancer email notwithstanding, the criticism Tolentino receives these days tends to be more muted than when she was at Jezebel, where people sometimes tweeted at her with pictures of her face plastered with dicks. The essay she expects to prompt the most blowback is one in which she argues that being a “difficult woman” has been reframed as an undiluted positive. “The concept has bal- looned to something all-encompassing...a tarp of self-delusion that can cover any sin,” she

writes, adding, “If you stripped away the sex- ism, you’d still be left with Kellyanne Conway.”

The piece has the capacity to anger both people on the left and, presumably, Kellyanne Conway and her supporters. It’s also indicative of the way Tolentino’s path through most any subject, no matter how contentious, is her own. “The ways in which our identities posi- tion us in the world are complicated,” she tells me. “And we’re in an age where everything is shifting. There has to be writing that is flexi- ble enough to accommodate all these things existing, often at once.”

One concern she had about her essay on Ecstasy and religion was that just putting words to something so central to her identi- ty would leave it unable to further develop. “I worried I was imposing some sort of false structure and would no longer have these overwhelming experiences,” she says. She was relieved, last April, when she went upstate, dropped acid, and discovered this, at least, was not the case. “The message of the day was, Jia, what an idiot you were to even think you were getting to the bottom of anything,” she says. “That essay is just a sliver on the top of this thing that you’ll be thinking about for the rest of your life.”

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TABLE OF CONTENTS

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THE FEED

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EDITOR’S LETTER

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NINA’S EDIT

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ACCESSORIES

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SHOPS

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THE REVENGE-PORN WARRIOR

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FORCE OF NATURE

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UNDER THE TUSCAN SUN

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Vuitton, louisvuitton.com. PAGE 289: Top, pants, slides by Balenciaga, Balenciaga (Beverly Hills). PAGES 290–291: Dress by Dolce & Gabbana, select Dolce & Gabbana boutiques nationwide. Belts (throughout) by St. John, similar styles at stjohnknits .com. PAGE 292: Dress by Marni, Neiman Marcus stores nationwide. PAGE 293: Bodysuit, skirt, ring by Dior, 800-929-DIOR. Earring by Kat- Kim, katkimfinejewelry.com. Neck- lace by Gurhan, gurhan.com. Rings (throughout) by Foundrae, foundrae .com. Anklet by Ancient Greek San- dals, net-a-porter.com. Sandals by Amanu, amanustudio.com. PAGES 294–295: Dress, skirt, apron skirt, necklaces by Marni, Neiman Marcus stores nationwide, cruvoir.com. Boo- ties by Martiniano, mnzstore.com. PAGES 296–297: Dress, pumps by Bottega Veneta, bottegaveneta.com. Anklet by Ancient Greek Sandals, matchesfashion.com. PAGE 298: Dress by Valentino, Valentino bou- tiques nationwide. Flats by Loewe, Mameg (Beverly Hills). PAGE 299: Dress by Prada, select Prada bou- tiques nationwide. PAGES 300–301:

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ELLE (ISSN 0888-0808) (Volume XXXV, Number 1) (September 2019) is published monthly by Hearst, 300 West 57th Street, New York, NY 10019 USA. Steven R. Swartz, President and Chief Executive Officer; William R. Hearst III, Chairman; Frank A. Bennack, Jr., Executive Vice Chairman; Catherine A. Bostron, Secretary. Hearst Magazine Media, Inc.: David Carey, Chairman; Troy Young, President; Michael Clinton, President, Marketing and Publishing Director; Kate Lewis, Chief Content Officer; Debi Chirichella, Senior Vice President, Chief Financial Officer and Treasurer. © 2019 by Hearst Magazine Media, Inc. All rights reserved. ELLE® is used under license from the trademark owner, Hachette Filipacchi Presse. Periodicals postage paid at New York, NY, and additional mailing offices. Canada Post International Publications mail product (Canadian distribution) sales agreement No. 40012499. Editorial and Advertising Offices: 300 West 57th Street, New York, NY 10019. Subscription Prices: United States and possessions: $15 for one year. Canada: $48 for one year. Other international locations: $87 for one year. Subscription Services: ELLE will, upon receipt of a complete subscription order, undertake fulfillment of that order so as to provide the first copy for delivery by the Postal Service or alternate carrier within 4–6 weeks. For customer service, changes of address, and subscription orders, log on to service.elle.com or write to Customer Service Dept., ELLE, P.O. Box 37870, Boone, IA 50037. From time to time, we make our subscriber list available to companies that sell goods and services by mail that we believe would interest our readers. If you would rather not receive such offers via postal mail, please send your current mailing label or an exact copy to: ELLE, Mail Preference Service, P.O. Box 37870, Boone, IA 50037. You can also visit preferences.hearstmags .com to manage your preferences and opt out of receiving marketing offers by email. To assure quicker service, enclose your mailing label when writing to us or renewing your subscription. Renewal orders must be received at least eight weeks prior to expiration to assure continued service. Manuscripts, drawings, and other material submitted must be accompanied by a stamped, self-addressed envelope. ELLE cannot be responsible for unsolicited material. Printed in USA. Canadian registration number 126018209RT0001. POSTMASTER: Send all UAA to CFS. (See DMM 507.1.5.2); NONPOSTAL AND MILITARY FACILITIES: Send address corrections to ELLE, P.O. Box 37870, Boone, IA 50037.

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When ELLE caught up with Milla Jovovich back in 1999, the model-turned-actress—then starring as Joan of Arc in Luc Besson’s The Messenger—was keen to chart her own course and avoid being seen as just another pretty face. And what better way to send that message than in a buttoned-up Armani suit? Jovovich is back in the news, both on the big screen and as a fierce advocate for

reproductive rights. Her independent spirit, like classic tailoring, is something that will always be in style.—Naomi Rougeau

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JOVOVICH ON ELLE’S DECEMBER 1999 COVER.

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