harpers bazaar - february 2014 uk
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www.harpersbazaar.co.uk February 2014 | HAR P E R’S BA ZA AR | 29
CONTENTS — FEBRUARY 2014
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FEATURES104 ONWARDS AND UPWARDS
Keira Knightley is newly married
and revelling in working with
Kenneth Branagh in her latest film.
But the subject that’s exercising her
right now? – the future of feminism
138 AND THE WINNER IS…
Bazaar uncovers the power games
and schemes behind the Oscar
dreams of the A-list, from George
Clooney and Carey Mulligan to
Judi Dench and Emma Thompson
144 A STAR APART Naomie Harris
gives Hollywood glamour a
north-London reality check
148 PLAYFUL SPIRIT Octogenarian
Oscar-winner Angela Lansbury tells
Ajesh Patalay why she’s skipping back
to the London stage
150 GOLDEN TOUCH Self-made
billionaire Tory Burch lives a gilded
life between New York and the
Hamptons. What next for the queen
of the East Coast fashion scene?
FASHION61 CATWALK REPORT Pull up
a front-row seat as Bazaar guides
you through the most important
trends from all the S/S 14 shows
118 THE COLLECTIONS Essential
new-season style courtesy of the
leading labels of the fashion world
SHOP BAZAAR80 PALE AND INTERESTING Bring
delicate spring pastels to life with
sleek bags and brightly-hued heels
ON THE COVER
104 Keira Knightley on feminism, family & fame
From 138 The Bazaar A List: George Clooney,
Sandra Bullock, Tom Hanks
61 Spring starts here – Catwalk report:
our view from the front row
155 Beauty: how to get Hollywood hair
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www.harpersbazaar.co.uk
PHOTOGRAPH:TOM
ALLEN.STYLED
BYCATHYKASTERIN
E.SEESTOCKISTSFORDETAILS
32 | HAR P E R’S BA ZA AR | February 2014
COVER LOOKS Above left: Keira Knightley wears satin dress, £4,580; metal and Plexiglas necklace, £1,120, both Chanel. Above centre (subscribers’ cover): crepedress, £5,745; white gold and pearl ring, from a selection; leather and wool boots, £575, all Chanel. Styled by Leith Clark. Hair by Ben Skervin for Vidal Sassoon ProSeries at the Magnet Agency. Make-up by Kay Montano at D+V Management, using Chanel: Les Beiges de Chanel Healthy Glow Sheer Powder SPF 15 in Beige 20;Crayon Sourcils Sculpting Eyebrow Pencil in Brun Naturel; and Le Volume de Chanel in Noir. Manicure by Mike Pocock at Streeters London, using Chanel Le Vernis inBallerina. Photographs by Alexi Lubomirski. Above right (limited-edition cover available exclusively at the V&A): jersey dress (worn as top), £1,470; silk skirt, £1,340;wool footless socks, £190; suede heels, £770; jewelled leather cuff, £1,120; elastic and feather thin bracelet, £150, all Prada. Styled by Cathy Kasterine. See Stockists for details.Hair by Raphael Salley at Streeters London. Make-up by Shinobu at CLM Hair and Make Up, using Bobbi Brown: Luminous Moisturizing Treatment Foundation;and Brunette Brow Pencil. Manicure by Adam Slee at Streeters London, using Rimmel London. Model: Julia Frauche at Next Model Management. Photograph by Tom Allen
SUBSCRIBE to
HARPER’SBAZAARturn to page 101, or ring 0844 848 1601
TALKING POINTS92 POPULAR GUY The three Pop Art
retrospectives putting Richard
Hamilton back in the spotlight
93 MY CULTURAL LIFE Actor
Geoffrey Rush’s all-time inspirations
94 PLAYING WITH FIRE Ralph
Fiennes on rekindling the surprisingly
scandalous life of Charles Dickens
95 CELLULOID SAVIOUR How the
BFI’s Amanda Nevill is protecting
and liberating our cinematic heritage
96 LORD OF THE LENS The aristocrat
branching out into arboreal art
97 THE ORIGINAL BOND GIRL
Lara Pulver stars as the passionate
real-life love of Ian Fleming’s life
98 A STAR IS BORN Susie Boyt is over
the rainbow about the stage version
of her Judy Garland-themed memoir
BEAUTY BAZAAR155 SHINING LIGHTS Polish up with
Hollywood-worthy hair, skin and legs
162 DARLING BUDS L’Wren Scott and
Bobbi Brown on their make-up range
ESCAPE166 LIFE’S A BEACH
How to holiday with the A-list, from
Los Angeles to the Caribbean
FLASH!174 LEADING LADIES All the action
from our annual star-studded
Women of the Year Awards
178 CREATIVE DRIVE The glamorous
launch of Bazaar Art magazine
REGULARS53 EDITOR’S LETTER
58 CONTRIBUTORS
88 THE AGENDA Retail inspiration
for the month ahead
100 HOROSCOPES February in the
stars. By Peter Watson
180 STOCKISTS
186 HOW BAZAAR A classic moment
from our archives revealed
CONTENTS
SPRING BRIGHT White cotton coat, £2,260; white linen trousers, £1,240; white silk shirt, £1,240; tan calf-skin sandals, £440; tan calf-skin bag, £2,550, all Hermès
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Exclusive bags, shoes and scarves, plusthousands of our best beauty buys.
Only at Shopharpersbazaar.co.uk
The A-list directory
restaurant to Kate Moss’ fl orist,
From Keira Knightley’s favourite
SHOP
BAZAAR
EXCLUSIVES
This month’s coverstar Keira Knightley,
wearing Valentino
PENELOPE
CHILVERS
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Published on 2 January
JUSTINE PICARDIEEditor-in-chief
Creative director MARISSA BOURKE
Deputy editor SASHA SLATER Digital and development editor SACHA BONSOR
Assistant to the editor/events manager LUCY HALFHEAD
Managing editor CONNIE OSBORNE Chief sub-editor DOM PRICE
Picture director CHLOE LIMPKIN
Associate editors SARA PARKER BOWLES, AJESH PATALAY
FASHIONFashion director AVRIL MAIR
Global fashion director CARINE ROITFELD
Executive fashion director EUGENIE HANMER
Executive fashion and jewellery editor JULIE-ANNE DORFF
Fashion director-at-large CATHY KASTERINE Style director-at-large LEITH CLARK
Fashion production and bookings editor DANIEL J ROBSON
Senior fashion assistant LINH LY
Fashion assistants EMMA SHAW, FLORRIE THOMAS
Fashion features assistant ANNA ROSA VITIELLO
Contributing fashion editors MIRANDA ALMOND, CARMEN BORGONOVO,
MELANIE HUYNH, TONY IRVINE, MATTIAS KARLSSON,
HANNAH TEARE, SISSY VIAN
FEATURESCommissioning editor VIOLET HUDSON
Assistant features editor HELENA LEE
Contributing features assistant EMMA ZACHARIA
Flash! and Guest List editor FRANCES WASEM
BEAUTY AND HEALTHBeauty director SOPHIE BLOOMFIELD
Beauty director-at-large NEWBY HANDS
Assistant beauty editor VICTORIA HALL
ARTArt director JAY HESS
Contributing art director CHRISTOPHER WHALE
Picture editor LIZ PEARN
Designer/repro co-ordinator NINA HUNDT
Designer AMY GALVIN
Picture assistant REBECCA HARRISON
Art co-ordinator KIMBERLEY DYER
COPYDeputy chief sub-editor MELANIE LAW
Sub-editor CAROLINE LEWIS
Contributing sub-editor ROBIN WILKS
WEBSITEOnline deputy editor SARAH KARMALI
Online assistant editor REBECCA COPE
Assistant content producer ROSIE REEVES
CONTRIBUTING EDITORSSAM BAKER, LYDIA BELL, HANNAH BETTS, CLARE COULSON,
SOPHIE DAHL, SOPHIE DENING, AMANDA HARLECH,
NATALIE LIVINGSTONE, GIANLUCA LONGO, CAROLINE ROUX,
L’WREN SCOTT, LAURA TENNANT
CONTRIBUTING PHOTOGRAPHERSCAMILLA AKRANS, TOM ALLEN, JULIAN BROAD, LIZ COLLINS,
VICTOR DEMARCHELIER, MICHELANGELO DI BATTISTA, HORST DIEKGERDES,
TIERNEY GEARON, KACPER KASPRZYK, SEBASTIAN KIM, PAOLA KUDACKI,
THOMAS LAGRANGE, ALEXI LUBOMIRSKI, MARY McCARTNEY,
DON McCULLIN, TRENT McGINN, TOM MUNRO, CATHLEEN NAUNDORF,
MIGUEL REVERIEGO, MARK SEGAL, MARK SELIGER, DAVID SLIJPER,
SOLVE SUNDSBO, ELLEN VON UNWERTH, BEN WELLER, YELENA YEMCHUK
Harper’s Bazaar ISSN 0141-0547 is published monthly (12 times a year) by Hearst UK c/o USACAN Media Distr.Srv. Corp. at 26 Power Dam Way Suite S1–S3, Plattsburgh, NY 12901. Periodicals postage paid at Plattsburgh, NY.
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February 2014 | HAR P E R’S BA ZA AR | 53www.harpersbazaar.co.uk
EDITOR’SLETTER
EDITOR’S
PICKS
To mark Bazaar’s A-list issue
this month, how about choosing your
own fashion top five: those enduring
stars of the wardrobe, which will always
make you feel better? I love a fitted tweed
Chanel jacket over a pair of dark J Brand
jeans; Jimmy Choo slingbacks; a
stripy J Crew Breton top; and an
iconic Lady Dior handbag.
Now over to you…
THIS TIME OF YEAR IS traditionally gloomy (post-
Christmas, pre-spring), but here at Bazaar there are
many reasons to be cheerful. First, the beautiful new col-
lections, showcased inourcatwalk reportandthroughout
the rest of the issue, including a wonderfully graceful
cover shoot with Keira Knightley. And the accompanying
interview suggests what we at Bazaar hold dear: that real beauty is
more than skin deep; that a loving marriage and family life do not
have to be at odds with feminist principles, nor with a fulfilling long-
term career. More evidence of which is apparent in the interview
with Angela Lansbury, who is returning to the West End at the age
of 88 in a new production of Blithe Spirit, 70 years after she won her
first Oscar nomination (for her screen debut in Gaslight).
We’re also delighted to feature a portfolio of some of Bazaar ’s
favourite film stars, including Sandra Bullock, Tom Hanks, George
Clooney, Emma Thompson, Naomie Harris and Carey Mulligan.
Alongside this, with the approach of the latest season of Baftas
and Oscars, we have taken the opportunity to examine how
the celebrity A-list embarks on tactical campaigns in the pursuit
of prizes – as carefully planned and political as any American
presidential election.
I hope you’ll find much to enjoy elsewhere in this
issue, and take the time to be kind to yourself if the
weather is cruel. In fashion, as in life, the prospect of
spring isadelight;behappy–blueskieswill return…
Justine Picardie
PS: to download your digital edition, visit the iTunes App Store,Google Play Magazines or the Newsstand store on your Kindle Fire.
Guests at Bazaar’s Women
of the Year awards (page
174), clockwise from right:
Natalia Vodianova. Cate
Blanchett and Colin Firth.
Frida Giannini and Tom
Ford. Far right: cover star
Keira Knightley (page 104).
Below: Naomie Harris in
‘A star apart’ (page 144)
£3,800
Dior
£215
J Brand
STARRY
NIGHTS
£3,500
Chanel
£450
Jimmy
ChooChoo
£52
J Crew
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58 | HAR P E R’S BA ZA AR | February 2014
CONTRIBUTORS
Frauche models the
best of the new-season
collections (page 118) in
the palladian Avington
House, Hampshire.
‘The hall and grounds
were incredible; I felt as
though we were living
in another century,’
she says. ‘It’s more of
a castle than a house.’
The 25-year-old studied
in Paris before starting
modelling seven years
ago. She’s in increasing
demand and walked in
40 shows in one season
(spring/summer 2012).
WhichA-listerdoyou
mostadmire? ‘Coco
Chanel: she followed
her own ideas.’
What’s themostA-list
requestyou’veever
made? ‘To travel to
Australia business-class
for a three-day job.’
‘I was completely in awe
of Angela Lansbury,’
says McGinn, who took
the star’s portrait for
‘Playful spirit’ (page
148). ‘She told me that
I reminded her of John
Frankenheimer, who
directed her in The
Manchurian Candidate,
one of my favourite films;
“He never quit until he
got what he wanted.”
That was the most
gracious way to call it
a day!’ The New Yorker
is a regular contributor
to Bazaar and has shot
Georgia May Jagger and
Ruth Wilson for us.
WhichA-listerdoyou
mostadmire? ‘Herb Ritts.
I learned most of what I
know about photography
from assisting him in
the early 2000s.’
‘What does it take to
win an Oscar?’ asks the
film journalist Gant, who
delves into the machinery
of the Academy Award
campaign trail (page
138). Gant reviews for
Variety and analyses
the UK box office
for The Guardian. A
passionate advocate
of young talent, he
serves on the nominating
jury for Bafta’s Rising
Star Award.
What’s themost
A-list requestyou’ve
evermade? ‘To Tom
Hardy, “Are you up
for continuing this
interview at my
house?” He assented.’
Youknowyou’ve
reached theA-list
when… ‘all your invites
come accompanied
by the magic words,
“We’ll send a car…”’
For ‘Golden touch’ (page
150), Midlands-born
Sturman shot the fashion
designer, philanthropist
and businesswoman
Tory Burch in her
Manhattan office.
‘She is the consummate
professional,’ he says.
‘She knows her image
very well.’ He moved to
New York in the 1990s,
assisting Steven Klein and
Juergen Teller. His work
for W and The New York
Times Magazine cemented
his reputation, but recent
projects have included
a collaboration with the
perfumer DS & Durga.
WhichA-listerdoyou
mostadmire? ‘Keith
Richards – he’s the
real rock ’n’ roll deal.’
Youknowyou’ve
reached theA-list
when… ‘you’re asked
to take pictures at
the White House.’
‘Charles March is
that very rare thing:
a self-made aristocrat,’
says Bazaar ’s Bonsor,
who interviews the
custodian of Goodwood
on page 96. ‘He is also
a fantastic photographer,
and he told me that he
owes his success to the
late Stanley Kubrick –
who taught him that if
you can’t do something
well, don’t do it at all.’
Before moving to Bazaar
as digital editor, Bonsor
was at The Times for six
years, first as features
editor and then
as editor-in-chief of
Times Luxx magazine.
WhichA-listerdoyou
mostadmire? ‘Michelle
Obama: kind, brilliant
and inspiring.’
What’s themostA-list
requestyou’veever
made? ‘Asking an
assistant to do up my
jeans after a manicure.’
PHOTOGRAPHS:TOM
ALLEN,CHRISTOPHERSTURMAN,COURTESYOFCHARLESGANT,TRENTM
CGIN
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FRAUCHEAND
SACHA
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.co.uk
Buythebestof thenewseason
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PHOTOGRAPHS:CATW
ALKIN
G.COM,JASON
LLOYD-EVANS,SHUTTERSTOCK REPORT
Edited by AVRIL MAIR
sorbet brights or gothic drama?We round up the new season’s most seductive trends
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CATWALK REPORT
It’s the spring season… of course there’ll be florals, right?
Ah, but this time around the abundance of blooms on the catwalks was fiercer, lusher, more brightly hued than before.
At DIOR there was something almost toxic in the synthetic colours of the dresses printed with hyper-real
flowers, while CHRISTOPHER KANE’s graphic renditions were startling and sensual. If you just want pretty, there was plenty of that,
too: most notably at DOLCE & GABBANA, in a collection inspired by the almond blossoms of the designers’ native Sicily.
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February 2014 | HAR P E R’S BA ZA AR | 63www.harpersbazaar.co.uk
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From Victorian drama at MARC JACOBS to dark romance at ERDEM
We’re calling it: this is the colour of the season.
and straightforward seduction at TOM FORD (where else?),
slathered with sparkle or stripped back in Japanese-influenced minimalism,
black unexpectedly ruled the runways. Take a trip to the dark side…
SUMMER BLACK
BOTTEGA
VENETA
CHANEL
EMIL
IOPUCCI
TOM
FORD
ALBERTA
FERRETTI
CHLOÉ
MIC
HAEL
KORS
MARC
JACOBS
ALBERTA
FERRETTI
FENDI
DOLCE
&GABBANA
VIC
TORIA
BECKHAM
VIC
TORIA
BECKHAM
ERDEM
CATWALK REPORT
The sweetest thing about the spring collections was the overwhelming presence of pink
– but this quintessentially girlish shade felt fresh and all grown up. At BURBERRY PRORSUM there were pencil skirts in pretty lace –
worn with very English gym knickers – and cashmere car coats, while GIORGIO ARMANI and FENDI
had layers of chiffon sliced into a modern geometry. Leave it to MIUCCIA PRADA at MIU MIU to offer a counterpoint:
Sixties-inspired suits and coats that were deliberately, provocatively perverse in their extreme femininity.
TH I N K P I N K !TH I N K P I N K !
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February 2014 | HAR P E R’S BA ZA AR | 65www.harpersbazaar.co.uk
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CATWALK REPORTP
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by KARL LAGERFELD at CHANEL: if anyone needed proof thata set of street murals at PRADA, a gigantic gallery of works
A light installation by HEDI SLIMANE at SAINT LAURENT,
fashion and art are having a happy, creative alliance, the spring shows provided it.Painterly prints, bold brushstrokes and abstract graffiti
at CÉLINE reinforced the theme. We say this is the season to invest.
ART POP
▼
Looks from theLouis Vuitton
S/S 14 collection
CATWALK REPORT
PHOTOGRAPHS:CATW
ALKIN
G.COM,GETTYIM
AGES
A requiem for a dream… The last collection by MARC JACOBS at LOUIS VUITTON
was a celebration of extraordinary showmanship, recreating the sets from his 16-year tenure at the house –
the elevators, the escalators, the carousel, the fountain. Then, of course, there were the clothes,
elaborately ornamented in shades of black, accessorised with funereal ostrich plumes and signed off in the programme notes:
‘To the showgirl in all of us.’ What more can we say? Marc, you had us at ‘hello’.
SHOWGIRLS
February 2014 | HAR P E R’S BA ZA AR | 69www.harpersbazaar.co.uk ▼
bejewelled and feathered to within an inch of their lives.
SUMMER BRIDES
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www.harpersbazaar.co.uk February 2014 | HAR P E R’S BA ZA AR | 71
Chainmail, brocade, lamé, sequins, alloy, foil… for daytime?
To quote DONATELLA VERSACE, more is more this season:
LANVIN’s super-shiny skirt suits, BALMAIN’s elaborate bomber jackets and the incredible finale at DIOR, where
RAF SIMONS imagined the classic house silhouette in liquid-silver jacquard… metallics are being repositioned as something modern.
SH INE ON
▼
Woven leather running shorts at BALENCIAGA?
An elaborately beaded bomber jacket at EMILIO PUCCI? An embroidered chiffon tracksuit at GUCCI?
Ribbed legwarmers at PRADA? A leather mesh vest at TOM FORD? Embellished pool slides and matching visors at MARNI?
It only means one thing: sportswear is back – and this time it’s very luxurious indeed.
SPORT LUXE
DK
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▼
It’s safari, of course, and an easy, romantic vision of North Africa –but this season’s global traveller takes a much more encompassing look at the trend. From exquisite embroidery and fringing at VALENTINO,
inspired by Maria Callas as Medea, to Swarovski-crystal-studded tribal face at GIVENCHY BY RICCARDO TISCI, andCÉLINE’s west-London street styling, it’s a mixed-up, muddled-up world.
NOMAD
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CATWALK REPORT
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P O I S MO I C O L L EC T I ON
There’s beauty in the ordinary. The effortless, everyday chic of a white shirt –surely the key piece of this season – sums up a new calm sensibility that runs through the spring collections.
The breezy daywear at MICHAEL KORS’ standout show – pencil skirts, trenches, wide-leg trousers, tea-dresses, even cardigans –was also found in varying degrees at HERMÈS, BOTTEGA VENETA and PAUL SMITH. Sometimes fashion is about simple pleasures…
EVERYDAY ROMANCEEVERYDAY ROMANCE
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CATWALK REPORT
PHOTOGRAPHS:CATW
ALKIN
G.COM,JASON
LLOYD-EVANS,SHUTTERSTOCK
InsIdethelatest Issue...
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R E A D T H E N E W S H O R T S T O R Y F R O M S I M O N V A N B O O Y
F E A T U R I N G O L G A K U R Y L E N K O
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©2013HiltonWorldwide
PALE AND
INTERESTINGTeam soft pastels with snappy accessories
Shop the look at Harpersbazaar.co.uk Photographs by DIMA HOHLOV
Styled by MIRANDA ALMOND
for a light, bright new aesthetic.
SHOP BAZAAR
THIS PAGE: wool and cotton trench-coat, £1,220, Jil Sander. Silk dress, £695, Kate Spade New York. Patent shoes, £395, Jimmy Choo. Leather bag, £950, Mulberry. OPPOSITE: silk shirt, £550, Chloé. Silk blazer (sold as part of a suit), £1,125, Tod’s. Wool mix trousers, £605, Paul Smith. Leather heels, about £560, Sonia Rykiel.Shop the look at Harpersbazaar.co.uk
DIMA HOHLOV
SHOP BAZAAR
THIS PAGE: canvas top, £335; viscose mesh skirt, £335; satin stilettos, £305; wood sunglasses, £185, all Paule Ka. Canvas and leather clutch, £225, LK Bennett. OPPOSITE: silk waistcoat, about £660; matching jacket, about £1,040; matching trousers, about £575, all Sonia Rykiel. Trainers, £200, DKNY. Canvas and leather bag, £145, Longchamp.Shop the look at Harpersbazaar.co.uk
THIS PAGE: wool coat, £295; wool cardigan, £295, both By Malene Birger. Cotton
trousers, £245, Joseph. Leather heels, £495, Manolo Blahnik. Metal handbag, £995, Anya
Hindmarch. OPPOSITE: silk dress, £250; leather jacket, £560, both DKNY. Patent shoes, £395, Jimmy Choo. Mother of pearl sunglasses,
£340, Cutler and Gross.Shop the look at Harpersbazaar.co.uk
SHOP BAZAAR
DIMA HOHLOV
SHOP BAZAAR
THIS PAGE: wool top, £210; wool mix trousers, £205; wool headscarf, from a selection, all MaxMara. Suede heels, £375, Jimmy Choo. Plastic sunglasses, £179, Burberry. OPPOSITE: suede coat, £6,400, Michael Kors. Silk dress, £425, Rag & Bone. Leather trainers, £215, Longchamp. See Stockists for details. Hair by Panos at CLM Hair and Make Up, using Bumble and Bumble. Make-up by Lotten Holmqvist at Julian Watson Agency, using Nars. Manicure by Ami Streets at LMC Worldwide, using Chanel S/S 14 and Body Excellence Hand Cream. Model: Maarjan Ridalaan at Tess Management.Shop the look at Harpersbazaar.co.uk
DIMA HOHLOV
DIRECTORY
THETHEAGENDA
Everything you need for a stylish February
PRECIOUS TIME
Dolce & Gabbana has just launched its DG7 collection of watches in pink,yellow and white gold or steel. This showstopper is in pink gold with 10sapphires set into the dial. Dolce & Gabbana (www.dolcegabbana.com).
GET SHIRTYSince Christian Dior presented
his post-war ‘New Look’ shirt
dresses, our love for this play on
the masculine has not waned.
From belted, full-length cotton
versions to light printed silks, we’re
celebrating this season’s versions.
Daks (020 7409 4000;
www.daks.com). LK Bennett
(0844 581 5881; www.lkbennett.com).
Massimo Dutti (020 7851 1280;
www.massimodutti.com).
Thomas Pink (020 7498 3882;
www.thomaspink.com).
By JO GLYNN-SMITH
£225
LK Bennett
£175
Thomas
Pink
£79.95
Massimo
Dutti
£412
Vanessa
Bruno Athé
at Stylebop.com
£425
Daks
£10,480
Dolce &
Gabbana
LOOK SHARP
Classic lines backstage at Daks’
S/S 14 show
… Joy Forever, a stunning new fragrance
from Jean Patou. It’s a vibrant, floral perfume
that contains some of the key ingredients of
the original Joy, including Rose de Mai
and jasmine. Available exclusively
at Harrods (www.harrods.com).
Light touchContinuing the
trend for neutral
nail polishes, Clinique
has introduced
a limited-edition
16 Shades of Beige
collection, so now
there’s a tint to
match every
complexion.
Available from
7 February at Clinique
counters nationwide.
The fashion collectionspresented us with a softer,
more romantic feel thisseason, and lingerie followed
suit. Try investing in pieceswith a vintage air, like this
feather-light lace robefrom Intimissimi
(www.intimissimi.com);the divine silk Maison slip
with lace detail fromLa Perla (020 7245 0527);
or an adorable silkand lace teddy
from the Rosie forAutograph collectionat Marks & Spencer
(0845 302 1234; www.marksandspencer.com).
SHINY SHOESThere will be happy feet all around this
summer as flats rise in the style stakes.
Try ametallic pair to add glamour to your
look; these work best with slim-leg
trousers or amidi-length skirt.
Coach (020 3141 8901; http://uk.coach.
com). LK Bennett (0844 581 5881;
www.lkbennett.com). Longchamp
(020 3141 8141; http://
uk.longchamp.com).
LACE LOOKS
£95
for 50ml
Jean Patou
These pretty enamel Rose PastelManchette and Diva bangles from Frey Wille
£770
Frey Wille
£770
Frey Wille
£45
Marks &
Spencer
£377
La Perla
£165
LK Bennett
£325
Longchamp
£195
Coach
£39.99
Intimissimi
Nail polish in
Birthday Suit, £12
Clinique
Nail polish in
Nighty Night, £12
Clinique
Nail polish in
Room Service,
£12 Clinique
Nail polish in
Chocolate On
My Pillow, £12
Clinique
February 2014 | HAR P E R’S BA ZA AR | 81
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ER
are a great complement to a light, breezy
Frey Wille (020 7235 1388; www.freywille.com).
THE BANGLES
A NEW WEBSITE WHERE
EXPERT OPINION MEETS EXQUISITE TASTE
telegraph.co.uk/ luxury
PHOTOGRAPH:TATE,©THEESTATEOFRIC
HARD
HAMILTON
Edited by AJESH PATALAY
‘Hommage à Chrysler Corp’ (1957) by Richard Hamilton
Richard Hamilton’s groundbreaking works
I N W I T H
T H E I N - C R OW D
herald a celebration of Pop Art; British actresses Emily Mortimer and Dolly Wells make them
laugh in LA; and Ralph Fiennes examines the life and scandals of Charles Dickens
Above: ‘Man,Machine and Motion’(1955), shown at theNew Museum. Near
right: ‘SwingeingLondon 67 (f )’(1968–1969).
Centre, from top:‘$he’(1958–1961).
‘Interior II’ (1964)
When it comes to the British artist Richard Hamilton,
there is the work and there is the legacy. As the so-
called Godfather of Pop Art, he helped to launch a
movement. He also tutored Bryan Ferry at Newcastle University,
and during his tenure at the Royal College of Art he promoted Peter
Blake and David Hockney. His incursions into music resulted in
some of the most iconic emblems of pop culture: his minimalist
cover for the Beatles’ White Album, and the infamous portrait
of Mick Jagger, Swingeing London 67 (f), made shortly after Jagger’s
arrest for drug possession.
Hamilton was born in London in
1922, yet his work remains startingly
modern.Considerhis1956collage, Just
What Is It That Makes Today’s Homes
So Different, So Appealing?; a paean
to new gadgets and bodybuilders,
with a burlesque stripper pasted incon-
gruously into a well-to-do living-room.
It hits a nerve. A print
of it will be featured in
a Tate Modern retro-
spective this year,
which will look at the
artist’s 60-year career.
Another star of the
show is his 1956 Fun
House, an immersive
room of movie posters, magazines and art history.
Over at the ICA, two of Hamilton’s installation
pieces (Man, Machine and Motion, 1955, and An
Exhibit, 1957) will be restaged in all their (slightly
hallucinogenic) glory. A tad gentler is the Alan
Cristea Gallery’s selection of his prints; do pop in.
‘RichardHamilton’ isatTateModern(www.tate.org.uk)from13February. ‘Hamilton
at ICA’ is at the Institute of Contemporary Arts (www.ica.org.uk) from 12 February.
‘Richard Hamilton: Word and Image. Prints 1963–2007’ is at the Alan Cristea
Gallery (www.alancristea.com) from 14 February.
ThreenewexhibitionsofRichardHamilton’swork showcase thegeniusof aPopArt icon By VIOLET HUDSON
POPULAR
GUY
ART
‘Just What Was It That MadeYesterday’s Homes So Different, SoAppealing?’ (1956, reconstructed
in 1992). Top left: ‘Towards ADefinitive Statement On The
Coming Trends In Men’s WearAnd Accessories (a) Together Let
Us Explore The Stars’ (1962)
www.harpersbazaar.co.uk
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February 2014 | HAR P E R’S BA ZA AR | 93
LIFE IN THESPOTLIGHT
As a DJ and one half of
Everything But the Girl
(with his partner Tracey
Thorn), Ben Watt knows
better than most the
impact fame can have on
identity. But in his
poignant new memoir,
Romany and Tom, he
channels that knowledge
through his parents’
lives. The Romany
and Tom of the
title are his father,
the working-class
jazz musician Tommy
Watt, and his mother
Romany Bain, a
Rada-trained actress and
showbiz writer. From
opposite ends of the
social spectrum, they’d
both been married and
divorced before they met
in 1957. Their subsequent
life together was carried
out on stages, a round of
glamour and success that
faded into infirmities and
irritation – days watching
TV and, ultimately, in a
care home. Can a life
onstage be sustained
once ol it? It’s a thought
Watt explores.
‘Romany and Tom’ by
BenWatt (£16.99,
Bloomsbury) is published
on 13 February.
BOOKS
TV
GIRLS IN FILM
Co-written by the British actress
Emily Mortimer (star of Aaron
Sorkin’s The Newsroom) and her
real-life best friend, comedian and
actress Dolly Wells, Doll & Em is
a wickedly funny show that pokes
fun at Hollywood. The premise
may sound familiar: a successful
British actress in Los Angeles
(Mortimer) comes to the aid of her
childhood friend from London
(Wells) by employing her as an
assistant. It soon becomes clear
that the strains and silliness of LA
life, not to mention the tensions of
the relationship between film star
and PA (especially one who insists
on upstaging her employer), are
not conducive to friendship. Susan
Sarandon, Andy Garcia, John
Cusack and Noel Fielding make
cameo appearances, taking obvious
pleasure in playing grotesque
versions of themselves.
‘Doll & Em’ airs on Sky Living in February.
GEOFFREY RUSH
MY CULTURAL LIFE
First record bought ‘“Carmen
Murdered!” by Spike Jones,
a novelty band from the 1940s.
Aged seven, I knew it backwards.’
Book that changed your life ‘The
Act of Creation by Arthur Koestler;
it’s about how humour, aesthetic
ideas and scientific discoveries all
share “eureka” moments.’
Favourite cliché ‘“It all turns out well in
the end.” It’s the clunkiest cliché in the world.’
Poem known by heart ‘I could probably stumble
through Shakespeare’s Sonnet 129:
“The expense of spirit in a waste of shame…”’
Whowould play you in a film? ‘Peter Sellers,
if he were still alive. He would make the ordinary
parts of my life extraordinary.’
Brains or beauty ‘Beauty. I’m a huge romantic.’
Money or sex ‘You need money. Sex you can
work out by yourself.’
Style icon ‘David Bowie, when he
was into smart suits.’
Favourite tipple ‘A slug of vodka
at room temperature. Neat,
like the Russians have it.’
Most envious of… ‘people who are
totally fulfilled by the nuts and bolts
and banality of their everyday lives.’
Most proud of… ‘taking an Australian
production of an obscure Eugène Ionesco
play, Exit the King, from the subsidised theatre
to the lights of Broadway, and seeing audiences
go wild. I won a Tony for it: it’s my career high.’
Favourite villain ‘Lex Luthor, from the Superman
comics. I love the double-L alliteration.’
Worth staying in for ‘QI, when Bill Bailey, Jimmy
Carr, Jo Brand and Alan Davies are on. They
would be my ideal dinner-party companions.’
Geoffrey Rush stars in ‘The Book Thief ’,
released nationwide on 31 January.
TALKINGPOINTS
www.harpersbazaar.co.uk
ASTOLD
TO
HELENA
LEE.PHOTOGRAPHS:HENRYBOURNE
ATTHEMAYFAIR
HOTEL,DAVID
APPLEBY
HISTORY IN THE MAKINGFrom top: Perdita Weeks as MariaTernan. Margate beach. Weeks and
Felicity Jones in the film. Right: RalphFiennes and the film’s director of
photography Rob Hardy on set
Ihadn’t read much of Charles Dickens’ work before I
decided to direct The Invisible Woman, the story of the
writer’s affair with the actress Nelly Ternan.
Like most people, I’d come across various adaptations
when I was young: David Lean’s Great Expectations; David
Copperfield on the television. Our family owned a record of
A Christmas Carol starring Bernard Miles as Scrooge, and
I was familiar with Dickens’ stories, but the only novel I had
read completely – maybe 20 years ago – was Little Dorrit.
It was the character of Nelly Ternan (played by Felicity
Jones in the movie) who brought me to this film. After reading
Claire Tomalin’s book The Invisible Woman: the Story of Charles
Dickens and Nelly Ternan, I wanted to know more about the
woman who stole Dickens’ love while he was married.
Tomalin describes Dickens as a powerhouse of energy
– incredibly ambitious, open-hearted, gre-
garious, generous, possessed of a ferocious
work ethic and a determination to prove
himself. That idea of Dickens, which Abi
Morgan preserves in her screenplay, got
under my skin.
PLAYING
WITH FIREHowCharlesDickens,moralguardianof theVictorians,
losthisheart toan18-year-oldingénueBy RALPH FIENNES
FILM
TALKINGPOINTS
www.harpersbazaar.co.uk February 2014 | HAR P E R’S BA ZA AR | 95
‘Film is not the seventh art,’ says Amanda Nevill,
the CEO of the British Film Institute. ‘It is the
zenith of man’s creative ability.’ Cinema is lucky
to have such an ardent champion, but Nevill
knows her task is a daunting one. ‘I doubt it
will be finished in my lifetime,’ she admits
of the plan to digitise the entire BFI archive.
‘But these things need to be available to the
film-makers of tomorrow.’ The preservation
teammust work quickly, as the early celluloid is
decomposing. Fortunately, the BFI has funding
from the National Lottery and support from
some big names. Martin Scorsese, who has
overseen the restoration of Michael Powell’s
Peeping Tom, is full of praise: ‘Films inspire,
enlighten and entertain us… the BFI has played
a critical role in preserving film from the past.’
Nearly 1,000 pieces of footage are already
available to view online via the BFI Player.
Among Nevill’s favourites is a 1952 screen test
of Audrey Hepburn: ‘All she’s doing is showing
you a piece of cloth, but, by God, you want
that cloth.’ Nevill describes the BFI Player
project as audacious, but she is no stranger to
pioneering initiatives. Since she joined the BFI,
she has managed the transformation of the
National Film Theatre into the cultural hub that is
BFI Southbank and developed the BFI London
Film Festival into a leading event. There’s still
work to be done, but Nevill is undeterred. ‘As a
nation, we don’t accord film the same artistic
credibility that we do paintings or opera.
That’s going to change. I am on a mission.’
For more information, visit www.bfi.org.uk. To make
a donation, email [email protected].
CELLULOIDSAVIOUR
From top left:Fiennes asDickens. Fienneson set. Tom Burkeand Felicity Jones.Below: KristinScott Thomas andJones in the film
Dickenswasatthecentreofthings,pullingall thestrings
FILM
TheBFIchiefAmandaNevill isonacrusade toopenthenation’sfilmarchive toallBy VIOLET HUDSON
Portrait by HENRY BOURNE
When the audience first meets Dickens in the film, it’s 1857. He
is 45 years old and a father of 10. Nelly Ternan is an 18-year-old
woman he encounters in an amateur production of The Frozen Deep,
a play he has written with his friend Wilkie Collins. Dickens is
Nelly’s director and her co-star.
At first I had been reluctant to both play Dickens and direct the
film. I did approach another actor for the role but he shied away from
the so-called unattractive side of Dickens. For me, that was precisely
what made the part so good. As time went by, I realised that if the
director of the film and the actor playing Dickens were one and
the same, it would echo the way Dickens was in real life: the all-
seeing man at the centre of things, pulling all the strings – directing
plays in which he was also the lead. That is exactly what Dickens is
doing in that rehearsal
scene of The Frozen Deep.
I relied on a number
of anecdotes to help me
develop the character.
Dickens loved to be sur-
rounded by people. He
would often rent houses
in coastal towns such as
Margate and throw parties
for society friends, organ-
ising games for his guests (we show much
of this social side in the film). There was a
slightly forced jollity in aspects of his
behaviour, a certain aggressive, madcap
quality. He insisted on punctuality and
was something of an obsessive. In his
letters he gave detailed instructions to car-
penters about how to put shelves up or to
his manservant about what champagne
to serve for dinner. He was fastidiously
in control of everything.
I had a fantastic ensemble cast: Tom
Hollander as Wilkie Collins; the luminous
Felicity Jones; Joanna Scanlan as Dickens’
wife; and Kristin Scott Thomas, who plays
Nelly’s mother. The last time Kristin and I
worked together was nine years ago
when my sister Martha directed a film called
Chromophobia, and of course, prior to that we starred
in The English Patient in 1996.
We are very good friends, Kristin and I. We
keep in touch; whenever she’s onstage I watch her
perform and, similarly,
she comes to see me.
Some time ago, she very
sweetly told me that
she’d like to be in my next film. Then I
thought tomyself: ‘Fuck, I’vegot toget
her a good part now,’ so I cast her as
Mrs Ternan. Kristin was completely
true to her word, true to her intent.
She took it on and was terrific.
‘The Invisible Woman’ is released nation-
wide on 7 February.
www.harpersbazaar.co.uk
Charles Gordon-Lennox, Earl of March and the dashing cus-
todian of Goodwood, never stops. When he’s not managing
his 12,000-acre estate, with its world-class racecourse,
motor-racing track, series of festivals, golf course, organic farm,
pheasant shoot, hotel and stately home, he can be found shuffling
around his dressing-room in the early hours, immersed in his
favourite pastime: photography. ‘I develop all my prints here, often
in the middle of the night,’ he says, opening a huge metal chest in the
corner of the room, replete with two giant printers.
The chest reveals a cache of photographs, each
worth between £15,000 and £25,000, and soon to
be exhibited at the Marble Palace in St Petersburg.
March’s passion for photography started when
he was at Eton, of which he says: ‘I didn’t like it very
much, so I left when I was 16.’ His first job was as an
apprentice to the director Stanley Kubrick, who was
then working on the film Barry Lyndon. ‘I got the job
through a friend, and I sat with Kubrick every night,
going through thepre-productionstills. Some people
found him challenging, but he was always very nice
to me. He started as a stills photographer,
and the most important thing he taught me
was never to compromise. For him, nothing
but perfection was good enough.’
After a stint as a reportagephotographer,
March turned to advertising. ‘Working in
Londoninthe1980swas fantastic,’he recalls.
‘Really creative, unbelievablebudgets, crazy
bills –ourbasicbriefwas tomakeeverything
look impossible.’ Since taking on the
Goodwood estate in the 1990s, March has had no time for photog-
raphy – until recently, when he picked up
his camera again. ‘But rather than before,
when everything had to be controlled
and produced and time-consuming, the
pictures can be random and momentary
and flexible, thanks to digital photog-
raphy,’ he explains. ‘It’s very exciting.’
March’s exhibition amounts to 46
photographs of trees from around the
world, each taken with a rapidity and
sketchiness usually associated with drawing. He happened upon
this technique, he says, ‘experimenting with shaking the camera at
different angles. My children say that when I take them, I look like
I am having a stroke.’ Is it exciting to find himself back where
he started? ‘Very. Photography is something I have loved for nearly
50 years, and I am still doing it. I feel very good about that.’
‘Nature Translated’ is at the Marble Palace, St Petersburg, from 23 January.
For more details or to view the photographs, visit www.charlesmarch.com.
PHOTOGRAPHY
LORD
OFTHE
LENSTheEarl ofMarch, anad-man
aristocrat, is atheart anartist
By SACHA BONSOR
Portrait by HENRY BOURNE
The Earl of March’s ‘Hollywood3’. His photographs, from aboveleft: ‘Volumes 1’. ‘Lake Como’.Top, from left: ‘Park Copse’.‘Vallée de Mai’. Right:‘Cornhill’. Centre: Marchphotographed by Henry Bourne
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TALKINGPOINTS
‘The trouble with Ian
Fleming,’ says the
actressLaraPulver,
brushing back her long, dark
tresses, ‘is that he gets off
with women because he
can’t get on with them.’ She
is quoting the novelist
Rosamond Lehmann, herself
oneof Fleming’smanyinam-
oratas. We are talking about
Fleming, a new TV series in
which the 33-year-old stars
as Ann O’Neill, the wife of
the Bond creator (played by
Dominic Cooper). Spanning
three decades and shot in
Budapest, which doubles as
war-torn London, the four-
part drama details their
passionate and destructive
relationship. ‘Two people scrapping round to find out
who they are,’ she says. As O’Neill, Pulver seems to have
found her period, the Forties updos setting off those
Rampling cheekbones and smoky-blue eyes. ‘Ann
O’Neill was this very spirited socialite whose motto was,
“It’s no longer fashionable to be dull,”’ she explains.
‘Surrounded by this decay and sadness, here I am in a
bright lemon-yellow dress living like I’ve never lived
before.’ Cue a feast of period costume: an array of silk
dresses and half-moon hats in which O’Neill defies mor-
tality with style. ‘The cuts are so feminine,’ says Pulver,
‘you feel like the ultimate woman.’ Pulver is fast building
a reputation for portraying
womenwithoomph:a scene-
stealing nude Irene Adler
for BBC’s Sherlock (which
prompted her own Twitter
appreciation group); Section
D chief Erin Watts in Spooks;
and turns in True Blood and
Da Vinci’s Demons for Fox.
(She has also just filmed
scenes with Tom Cruise for
the thrillerEdgeof Tomorrow.)
The Sherlock role was the
game changer. ‘It was so fun,’
she says. ‘When I read it, I
thought, “This is a gift.” It
was a moment when my life
felt it was all over the shop – I
was in the middle of a break-
up [from her ex-husband, the
American actor Josh Dallas]
and it was horrific. There was some solace in coming
to work and having the best time.’ For the girl from
Essex,home isnowtheHollywoodHills,where she lives
with her Spooks co-star Raza Jaffrey. Despite falling for
‘the lifestyle, the climate, the landscape’, she still gets a
Brit-fix on screen. ‘Broadchurch and Last Tango in Halifax.
British drama – it’s the best there is,’ she says, before
confessing her bias: she spent last summer in the South
of France with Broadchurch’s Olivia Colman and family,
during which they played games of pool volleyball and
were, she says, ‘belly-laughing all day’.
‘Fleming’ will air on Sky Atlantic HD in February.
TV
The work of the Portuguese artist Joana Vasconcelos is feminist,colourful and subversive. A chandelier made of tampons and a giant
plastic ice-cream cone count among the pieces in a new show at theManchester Art Gallery, from 15 February (www.manchestergalleries.org).
OFF THE WALL
THE ORIGINAL
BOND GIRLLaraPulverplays the irrepressiblewifeof theauthor IanFleming
ina stylishnewdrama By REBECCA BROADLEY
THEATRE
The difculty of
juggling family
and career is at
the heart of a
new feminist play,
Rapture, Blister,
Burn, by the
playwright Gina
Gionfriddo (whose
work includes
TV’s House of
Cards). Emilia Fox
stars as Catherine
Croll, an academic
who returns to
her home town
and covets the
seemingly ideal life
of Gwen (Emma
Fielding), a
stay-at-home
mother who
married Catherine’s
former love.
‘Rapture, Blister, Burn’
is at the Hampstead
Theatre, Eton Avenue,
London NW3, from
16 January. Harper’s
Bazaar hosts a
pre-show discussion,
‘Can Women Have It
All?’ on 5 February,
for one night only,
with editor-in-chief
Justine Picardie. Ring
020 7722 9301 or visit
www.hampstead
theatre.com for tickets.
PLAY FORTODAY
Joana Vasconcelos’ ‘Tutti Frutti’
(2011)
www.harpersbazaar.co.uk
When you have sequins in your heart
and an addiction to show tunes, what
could be more gorgeous than having
your life made into a musical?
I’ve been stage-struck since childhood, when I
danced every afternoon and fell asleep at night
imagining dressing-room mirrors studded with
light bulbs and the long-stemmed champagne roses
mybow-tiedagentwould sendmeonopeningnights.
Even now I routinely dress for a party to ‘There’s No Business Like
Show Business’, mouthing the words like a prayer. So, finding myself
with a show based on my life about to open at the Nottingham
Playhouse, and a legitimate reason to hang around theatres, attend
auditions and rehearsals, to chat with stage doormen, to loll in the
green room, to commiserate with ice-
creamsellersovertheirvanillachilblains,
feels – at last – like an invitation to a hal-
lowed world, the world of my dreams.
This is how it began. A few years
ago, I wrote a very eccentric memoir
called My Judy Garland Life. The book
takes key episodes from my life and key
episodes from Judy Garland’s life and
uses them to look at contemporary atti-
tudes to love and fame, grief, rescue,
consolation and hero worship. I have
been a little bit in love with Garland
since earliest childhood, when I was
very sensitive, the sort of girl whose
heart goes out to everything, even a bit
of mustard left on the edge of a plate. It
seemed that all anyone ever said to me
was: ‘You have got to toughen up,’ ‘You
cannot take things to heart so,’ ‘You’ve
got to grow an extra layer of skin or
you’re not going to have
a happy life’ – quite a severe thing to say to a five-
year-old. And then one day my mother took me to
see The Wizard of Oz at the cinema and I heard
Garland sing ‘Over the Rainbow’. I thought: ‘Finally
here is someone whose feelings seem to run as high
as my own and she’s not hiding it, she’s not ashamed
of it, she’s not embarrassed by it, she’s leading with
her struggles as though they’re the best things life
contains.’ I had an instant smash of recognition and
fellow-feeling. My highly emotional nature, which
had always struck me as an affliction, Garland
seemed to suggest might be the making of me.
There couldn’t have been a better piece of news.
I had great adventures writing the book. I attended a munchkin
luncheon in Minnesota. I received an impromptu therapy session
from Liza Minnelli, who told me I mustn’t always try to rise above
anger and disappointment, but should go into a room, let off steam
for 20 minutes and then ‘move forward’. (‘Every day?’ I asked. ‘If you
need to, if youneed to,’ she replied.) I sangaduetwithMickeyRooney;
Barry Manilow invited me to lunch. I climbed into Judy’s childhood
Clockwise from left: astill from ‘The Wizard
of Oz’. A lobby card forthe film. Garland in
1960. Centre, from top:Garland on stage inLondon in 1957. A
poster for the play ‘MyJudy Garland Life’
Judy Garland in the 1940 fi lm ‘Strike up the Band’. Right, from left: Susie Boyt. Garland outside her dressing-room in 1955. Garland as Dorothy in 1939. Billie Burke and Garland in ‘The Wizard of Oz’ WhenSUSIEBOYT’smemoir,
MyJudyGarlandLife,was adapted intoaplay, thewriter realisedher lifelongshowbusinessdreams
THEATRE
ASTAR
ISBORN
February 2014 | HAR P E R’S BA ZA AR | 99
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www.harpersbazaar.co.uk
The luxury-interiors site the Longest Stay not only sellscovetable homeware such as Bib & Sola’s hand-blowntumblers (left), but also tells the stories of each artisanin its ‘Meet the Makers’ blog (www.thelongeststay.com).
THE HANDMADE TALE
bathtub in all my clothes. I sang in a cabaret bar in
Brooklyn. When I was approached by the playwright
Amanda Whittington, who wanted to adapt the book
for the stage, turning it into a sort of dream collage of
wit and pathos, in which Judy and Susie would share
their greatest moments of triumph and despair, I
sensed there would be many more adventures to come.
Amanda’s adaptation is in fact wonderful. There
are amazing scenes with psychoanalysts reminiscent
of theTinMan, theScarecrowand theCowardlyLion
attempting to help Judy while she makes wisecracks
that fox them completely. There are dancing maca-
roons. We see the little school on the MGM film lot
where the young stars did their lessons between takes,
although most of the studying was of Lana Turner’s
physique. We have Judy, distraught in the small hours,
wandering into a London cabbie’s shelter and giving
the old drivers a shock when she bursts into song over
their bacon and eggs. Perhaps my favourite moment of all (how could
I resist?) is when Judy says to Susie: ‘You’re such a good writer.’
And so it was one morning in October that I found myself sitting
in a draughty corridor at the American Church in London, waiting
for auditions to begin. ‘Are you trying out for Susie?’ a nervous-
looking actress asked me. ‘I have been trying out for Susie all my life,’
I didn’t quite say. Moments later, the Susies
began to arrive: Susies in raincoats,
Susies with fringes. The Susies were impres-
sive: sincere, emotional, intelligent, cheery.
Some had a truthfulness to them that was
unsettling. Some were recognisable from
TV. One looked a bit like my mother. A little
maxim of mine came into my head from
nowhere: on a Susie you can depend.
The Susies read from the play. The first
scene was comical and heartwarming,
where the Judy character steps right out of
the screen and befriends Susie, but the
second section was from the saddest part
of the book, which relates to an agonising
period following a bereavement I experi-
enced when I was 20. As the Susies spoke their lines, I was overcome
with sadness. It was like some recherché and sadistic Swedish
therapy where actors are called upon to perform the worst days of
your life, a few feet away from you, over and over again. After the
sixth Susie, I had a brilliant idea. I could go home!
Two weeks later, the search for Susie is still on. I feel a prick of
pride that I am proving difficult to cast. Meanwhile, we’re delighted
that our first choice for Judy,
Sally Ann Triplett, said yes. She
can fit us in between a West End
show and a spell on Broadway
in the spring. (Can you imagine
being able to utter that sentence?) I fall asleep wondering what to
give ‘my’ leading lady on opening night. A bottle of Jolie Madame
by Balmain, Garland’s favourite scent, which she always called
‘Jolly Madam’? Five dozen yellow ‘Judy Garland’ roses? My house?
The following week there is a taster evening at the Nottingham
Playhouse with the playwright, the director Kath Rogers and the
theatre’s artisticdirector,GilesCroft. Iopen theevening,performing
a little segment about how Judy Garland made a lot of sense to me
when other things in my life did not add up. Standing onstage
talking about how I once longed for showbusiness with all my heart
makes for a wonderful kind of irony. As I speak, I think of what Judy
Garland does better than any other performer, which is communi-
cate pure, unadulterated feeling. I try to match her for sincerity. Sally
Ann is sitting in the wings, her limbs, even in repose, possessing that
perfect angular Garland nerviness. She walks onto the stage and
sings ‘TheManThatGotAway’ and the theatrebristleswithglamour
and sorrow. Afterwards, Sally Ann’s 83-year-old mother takes me
under her wing. At one o’clock in the morning in the hotel bar, where
people are still doing Al Jolson impressions ( just as I’d hoped), I hear
myself say to her: ‘Jean, do you think it’s time we turned in?’
Cautious by nature, when I was 12 or so I accepted that the theat-
rical life was not for me. I have never been more happy to be wrong.
As I write, the search for the Susie is still on. I am saying nothing.
‘My Judy Garland Life’, adapted by Amanda Whittington, is at the Nottingham
Playhouse (www.nottinghamplayhouse.co.uk) from 31 January. The memoir
‘My Judy Garland Life’ by Susie Boyt (£9.99, Virago) is out now.
www.harpersbazaar.co.uk100 | HAR P E R’S BA ZA AR | February 2014
HOROSCOPES
SAGITTARIUS23 November – 21 December
One or two people would like to spend more time with you, either
working or having fun. But can you mix business with pleasure
without jeopardising relationships? The crunch may come late in
the month when your ruler Jupiter squares up to Uranus. Make that
your deadline for deciding what certain relationships are all about.
MOTTO OF THE MONTH Silence is the door of consent.
SCORPIO24 October – 22 November
Loved ones or friends may complain that your lives together have
become too chaotic. And you’ll probably decide it’s up to you to
put things right. Be careful. No one wants to feel you’re imposing
boundaries that won’t really suit them. Don’t take on impossible
tasks, which will do nobody any favours in the end.
MOTTO OF THE MONTH Never hang your hat higher than you can reach.
LIBRA24 September – 23 October
Certain people will want to give you extra responsibilities while
others urge you to relax. Make everyone see that only you can
decide how you spend your time. If anyone disagrees, it’s their bad
luck, provided your thinking is clear and you stick to your decisions.
MOTTO OF THE MONTH Those who conceal their grief never finda remedy for it.
VIRGO24 August – 23 September
Although you’ll be tempted to ignore anybody criticising your
way of handling ongoing commitments, consider the main points
being argued. A Sun-Saturn challenge on 11 February may reveal
the advantages of better organisation. This doesn’t mean you’re
always failing, but there’s room for improvement.
MOTTO OF THE MONTH The baker’s family may still go hungry.
LEO24 July – 23 August
Initially, it might be hard to include others in projects that you’ve
always handled on your own. But you’re about to see that it makes
sense to accept support from those perfectly well equipped to
relieve you of certain responsibilities. Just make sure that they’re
briefed in very precise terms. Guesswork isn’t on the cards.
MOTTO OF THE MONTH Let the sea make waves, not you.
CANCER22 June – 23 July
Some people’s expectations of you may clash with plans you have
to enhance your personal life. And although it might seem difficult,
you must insist that such areas of conflict are thrashed out until
a compromise can be reached. Perhaps you’ve forgotten that you
have a voice. Others need to hear it a lot more often.
MOTTO OF THE MONTH A true word requires no oath.
GEMINI22 May – 21 June
Work-related or financial considerations may dominate. But this
shouldn’t mean you’re unable to start a much-needed journey. It’s
time to rethink your priorities to make sure you’re not becoming
a casualty of bullying or heavy-handed ways. Stand up for yourself
and see how much more respect you’re shown.
MOTTO OF THE MONTH There is no right way to do a wrong thing.
TAURUS21 April – 21 May
Others may have strong views, but only you can decide how to
manage business or financial commitments. By the time Mercury
reverses to a potent part of your chart on 13 February, you’ll be
remedying problems previously deemed insoluble. Your challenge
is to resist making hasty assumptions about others’ competence.
MOTTO OF THE MONTH Love tells us many things that are not so.
ARIES21 March – 20 April
Rumblings about off-duty interludes will sound intriguing. But if
you’re not kept fully informed, don’t assume you’re being left out
intentionally. Others are perhaps being less inclusive than usual.
But give them the benefit of the doubt and wait to see what
happens. The problem may be in your mind, not in anybody else’s.
MOTTOOFTHEMONTH If you speak the truth, keep one foot in the stirrup.
PISCES20 February – 20March
No one could blame you for having doubts about a complex area
you’ll soon encounter. But you must try to focus on the advantages
of proving yourself in unfamiliar territory, and accept constructive
criticism for what it is, rather than becoming anxious about your
performance. People want to help, not work against you.
MOTTO OF THE MONTH A fault denied is twice committed.
AQUARIUS21 January – 19 February
You’ll hesitate to state your views on contentious topics, especially
while Mercury is retrograde for three weeks from 6 February.
Does this mean you should keep quiet? No. It’s merely a signal for
you to prepare your arguments and state your case, clearly and
concisely. You could be about to win people over to your side.
MOTTO OF THE MONTH If you don’t look ahead, you’ ll be left behind.
CAPRICORN22 December – 20 January
As you juggle financial or personal issues, you won’t want anyone
looking over your shoulder. But don’t stay isolated or your problems
will get you in their grip. Once you’ve settled on solutions, single
out one person you can trust. A second opinion will be invaluable.
MOTTO OF THE MONTH Indifference will find an excuse, but love willfind a way.
For weekly updates, visit www.harpersbazaar.co.uk/horoscopes
Thefuturerevealed:youressentialguidetoFEBRUARY By PETER WATSON
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FEBRUARY 2014
Aswelookforward toagloriousNEWSEASON,
herecomethebestof the latest fashioncollections, alongsideour
favouriteA-LISTSTARS, fromKeiraKnightley toAngelaLansbury.
Springstartsherewithasplash…
PHOTOGRAPH:GETTYIM
AGES
THIS PAGE: Keira Knightley wears
crepe dress, £5,745; diamond earrings;
white gold and pearl ring, both from a
selection, all Chanel. OPPOSITE: gazar jumpsuit, £6,850,
Balenciaga. White gold and diamond earrings,
from a selection, Buccellati. Platinum
and diamond ring, from a selection, Bulgari.
Mesh and leather shoes ( just seen), £380,
Bionda Castana
AND UPWARDS
ONWARDS
Keira Knightley opens up about marriage, family, children… and why feminism isn’t a dirty word any more
PHOTOGRAPHS BY ALEXI LUBOMIRSKI
STYLED BY LEITH CLARK
BY SOPHIE ELMHIRST
www.harpersbazaar.co.uk106 | HAR P E R’S BA ZA AR | February 2014
This seems likeaKeira sortofplace: sheep-
strewn parkland; a stone fountain; the room-silencing Van Dyck;
photos of the Queen as a little girl in the drawing-room; family
portraits of round-bellied men in military garb. A framed family tree
reveals the rolling generations of Firle Place’s inhabitants; this old
house in Sussex has seen layers of life. There’s tea on a tray in front
of thefireplace, andoutside, improbably tinyponiesarebeingherded
into a stable. All that’s missing is the leading lady. She should be
sweeping through the hall in a rustle of silk, pearls at her throat,
a haunted, hunted look blanching her face. Knightley as Anna
Karenina, the Duchess of Devonshire, Elizabeth Bennet. How
many times have we seen this woman weeping in full skirts?
But today Knightley is herself. She put on a good show for the
photo-shoot – poised and posed, an old
hand – but you can sense the relief as she
rushes into the drawing-room in dunga-
rees, black and ripped at the knee, all the
pretty clothes discarded. She has trans-
formed. The feline grace – a leg extended
here, a slim hand there, that practised,
unknowable gaze – has been replaced by
a crooked grin, gesticulating arms and a
style that falls into the category of crum-
pled. She is cold, hugging an overlarge
sheepskin-lined coat around her, and
collapses on her knees in front of the
tea as if in worship. Stately homes: they
don’t heat well.
On paper, hers is the career of a
50-year-old. The sudden rush to global
fame (Pirates of the Caribbean), the best-
forgotten (Domino), the take-me-seriously
(Pride & Prejudice and an Oscar nomina-
tion), the consolidation (Atonement, The Duchess), the career break (a
year spent riding trains round Europe, reading books), the ‘rediscov-
ering myself through intelligent indie film’ (Never Let Me Go,
A Dangerous Method). And, finally, the free-spirited return to Holly-
wood, which is where we are now. In Jack Ryan: Shadow Recruit, the
latest reboot of the Tom Clancy books about CIA agent Jack Ryan,
Knightley plays Cathy, wife to Chris Pine’s Jack. It’s big-budget,
noisy New York: ‘Lots of running,’ says Knightley, happily. Kenneth
Branagh directs and plays a Russian villain. It is, quite simply, ‘a piece
of popcorn’, she says. Because ‘sometimes people need pieces of
popcorn, and sometimes people need to make pieces of popcorn’.
It was Branagh who made her feel OK about making
popcorn.Therehewas–herchildhoodhero, agreatShakespearean,
a knight – cranking out a hammed-up, vodka-soaked Russian
accent without a flicker of shame. ‘He was like, “Don’t feel guilty…
it’s going to be a Hollywood action film, that’s what it’s going
to be, and that’s fine.” It was quite liberating hearing him say that.’
Liberation has been a long time coming. Knightley gives herself
a hard time over each performance, each choice of part, everything.
Sometimes, she says, she’ll apologise to someone for having said
somethingawful, forhaving ‘beenabitch’, and theywon’t evenknow
what she’s talkingabout, but she’ll havebeen tearingstripsoff herself
for hours. ‘It’s an English trait, isn’t it?’ she asks, hopefully. For
years she desperately sought approval, yearning for someone to tell
her she was doing all right – the legacy of the overachieving school-
girl used to pats on the head, gold stars. She was always keen,
a worker. ‘I wish I hadn’t been. Life would have been so much easier.’
Not that life has been hard. But even when things have been
going well, she has never made it particularly easy for herself.
The wealth and success were always overshadowed by gnawing
self-doubt born of growing up on screen and in the papers, picked
on by paparazzi and picked apart by critics. When it was revealed
that Knightley would play Lizzie Bennet and Anna Karenina –
beloved, cherished characters that readers feel they not only know,
but own – people scoffed. Her performances silenced some of her
detractors, but not all. She inspires a certain kind of vitriol, patron-
ising and cruel, and it took its toll. Only recently has she ‘chilled out
an awful lot’. ‘I don’t particularly know why… [I was] spending so
much time being neurotic and beating myself up [that I thought]
actually, if I didn’t, I might get further by just going, “Oh, fuck it.”’
There isquitea lotof ‘Oh, fuck it’ about
her today. (Knightley is a wonderful,
generous swearer; she swears with the
freedom of someone who was brought up
swearing, whose parents swore. Her
‘fucks’ are like commas.) She talks freely,
laughs loudly. She’s funny too,mimicking
Branagh on set as he tried ‘to shove a light
bulb in my mouth to kill me, or some-
thing like that, as you do – it’s quite brutal
– you go from that, and him screaming
at me, to [she drops to a genteel whisper
and her face rearranges itself into that of
the earnest director], “OK, cut, ladies
and gentlemen, thank you very much.”’
Branagh clearly inspired her – the
range and diversity of his career, acting,
directing, leaping fromHollywoodaction
movies one day to Macbeth the next. She
made an equally good impression on
Branagh, who glows in an email about how funny and smart she is,
praising her adventurous artistic spirit. ‘She likes to surprise herself
and the audience. I love that about her. I think she has limitless crea-
tive potential, because she has the courage to change.’
So would Knightley ever make the ultimate change and move
behind the camera? ‘I don’t know,’ she says. ‘I mean, as I get older I get
more interested by it… There is a lot of “You do what you’re told” [as
an actor]. After watching it and being part of it for so long, you start
going, “I wonder if there is a journey to the other side.” I don’t know
if there is, but I’m interested in seeing people who have done it.’
Getting older, being part of it for so long – this is 20 years of
experience talking. She was born into the industry, of course,
daughter to the playwright Sharman Macdonald and the actor
Will Knightley, and was working from the age of seven. So she has
earned the right to talk like a battle-scarred veteran, weary with toil,
30-odd films under her belt. And then you remember: she’s 28.
Away from the screen, things are just beginning. Knightley
She likes theconsistencythatmarriagehasprovided,theway itfeels steadyandsolid
▼
ALEXI LUBOMIRSKI
Cotton lace shirt; jersey skirt, £495 each; suede coat, £2,995, all Burberry Prorsum. Wicker hat, about £125, Eric Javits. Leather boots, £299, Penelope Chilvers
ALEXI LUBOMIRSKI
THIS PAGE: cotton top, £860; cotton cape, £2,090; calf-skin culottes, £5,120, all Hermès. Crepe satin mules, £445, Bionda Castana. Diamond earrings, £14,600, Buccellati. Diamond and platinum ring, £8,475, Tiffany & Co. OPPOSITE: cotton shirt; cotton linen shorts, £395 each, both Valentino. Leather studded headband, £225, Valentino Garavani. Rose gold ring, £6,000, Buccellati
www.harpersbazaar.co.uk110 | HAR P E R’S BA ZA AR | February 2014
is newly married, to the musician James Righton of the Klaxons.
Her wedding was in Provence last summer, a handful of people
at the ceremony, a party at her farmhouse, her Rodarte dress
reportedly recycled from the back of her cupboard. It was the
ripped-dungarees version of a wedding – crumpled, relaxed.
She wasn’t really the marrying type, always nervous of plans and
feeling trapped by knowing precisely what the future held. But,
again, something changed. Now – though she can’t quite believe it
as she says it – she likes the consistency that marriage has provided,
the way it feels steady and solid: ‘These words that you think before-
hand, “That’s the reason I’ll never do it”… those words that you see
as completely negative, and you suddenly see them as being incred-
ibly positive, and that’s actually quite liberating and quite nice.’
It throws up different questions, however. How, for example, do
you do what she does with kids? ‘I go to work at 5.30 in the morning;
I wouldn’t get back probably until nine o’clock at night. How does
that work?’ She says she hasn’t talked to many other actresses about
it, as often she’s the only woman in the cast, and ‘most of the guys
that I talk to – and I’ve spoken to a lot of guys about it – they say
[whispers], “My wife does everything.”’ She is aghast. ‘You think,
“Why wasn’t I thinking about this five years ago?”’
Because you don’t, do you?
‘No, you’re getting drunk, and you’re worrying about a boyfriend
and shit…’
The only woman in the film. I hadn’t
thought about it before: how often a
leading actress is cast in splendid isola-
tion amid a brace of men, how lonely that
must be. And even if there are other
women in the cast, behind the camera –
the writer, director, producer, crew – the
team will be predominantly male. All of
which means that quite often she finds
herself ‘walking into a room, and I’ll be
talking about why my character is saying
this, but I’ll be talking about it to a room
of five guys’. It’s a situation she finds
herself in regularly – confronting a row
of men about some derogatory or stereo-
typical line or scene, making the case for
her sex, trying to change the script. ‘I’ve
lost most of the arguments,’ she says.
It hasn’t stopped her fighting. ‘I think
it’sgreat,what’shappeningat themoment,
I think it’s great that the discussions are finally being allowed to be
had, as opposed to anybody mentioning feminism and everybody
going, “Oh, fucking shut up.”’ Her voice and vocabulary shift up a
gear: feminism elicits even more F-words than usual. ‘Somehow, it
[feminism] became a dirty word. I thought it was really weird
for a long time, and I think it’s great that we’re coming out of that.’
She discusses the subject regularly with her friends – in the car
on the way to the Bazaar photo-shoot, in fact – what can they do to
redress the balance, to promote women in the industry, to change
the system from the inside so that women in film aren’t merely deco-
rative but are running the show, making the decisions and, crucially,
employing other women? That’s partly what makes her consider
directing – because things will only change when more women are
in positions of genuine power. ‘Hollywood has a really long way to
go,’ she says, ruefully. ‘I don’t think that anybody can deny that,
really, and I think as much as you are getting more women playing
lead roles… they’re still pretty few and far between.’
She hasn’t tried her hand at directing, yet. But she has written a
screenplay. Knightley, it turns out, is a secret writer. ‘Little bits of
fiction, mostly non-fiction… But most of it’s gone in the fire.’ The
fire? ‘It’s for me, and then it can go.’ She’s suddenly, untypically shy.
And the screenplay? ‘That also went in the fire, and got deleted.’ As
if the fire wasn’t enough! She’d written it with a friend, a fellow
actress who had ‘been through something similar’, though she
doesn’t say what. Writing was cathartic, but their instinct as soon as
it was finished was to destroy all the evidence. Her mother tried to
persuade her to share her work, but ‘no, I never send her anything’.
Knightley guards her privacy fiercely. I ask her if she minds audi-
ences having such a false impression of her (haughty, posh). She
shoots back: ‘No, I think that’s fine… I like being private. I haven’t
asked a lot of the actresses who I really admire, “How do you do it?”
because I don’t want to know. Maybe I’m childish in that way; I just
don’t want to know about your life.’ The work, she concludes, is all
that matters. Or, to put it another way: ‘They could be shits, but
the work could still be good; I don’t want to know that they’re shits.’
The over-sharing instinct – celebrities trumping each other on
Twitter with selfies – is entirely alien to her. She has her ‘core’:
husband, close friends, family. The rest can go hang: she doesn’t care
what other people think any more. Not that she hasn’t tried to play
along. Tired of hearing friends bang on about Twitter, she signed up
under a false name. The experiment lasted 12 hours. ‘It made me feel a
little bit like being in a school playground
and not being popular and standing on
the sidelines kind of going, “Argh.”’
Forget the playground. It is, as she
says, all about the work. After Jack Ryan,
there’ll be The Imitation Game – the story
of the World War II code-breaker Alan
Turing. Knightley plays Joan Clarke,
a love interest of sorts to Benedict
Cumberbatch’sTuring (whowasgay, and
committed suicide after being found
guilty of gross indecency). It’s a period
piece, British: Knightley’s home turf. But
she’s on the hunt for something ‘difficult’
again. She has had her popcorn and
wants a challenge. She doesn’t know
quite what that means yet, but she’ll
know it when she sees it, and in the
process will drive her agents mad by
rejecting script after script, while never
quite articulating exactly what she’s looking for.
The point is, she’s ready, and you can see why. It’s not just that
she has had a break from the heavy stuff, she’s also – as she says
– older, wiser, more at ease. Perhaps being hitched helps, that once-
unfashionable solidity revealing itself to be the ultimate freedom.
I ask Knightley the question everyone asks when you get married:
does it feel different? As though, overnight, your relationship might
have transformed because you’ve said some words and signed some
papers and drunk too much champagne. And yet, she says with a
smile: ‘It does feel different, right? I can’t describe it, it’s somewhere
around there [she presses her stomach], and somewhere around there
[her chest], no, not theheart, it’smorearound the solarplexus. I don’t
know. It does feel different, it’s quite surprising. I’ve been surprised at
how different it does feel. Not better, just different. But no, I can’t
describewhat it is.’There’sapause. ‘I suppose it’s sortofgoing, “You’re
family.” You make the choice to say, “You’re family,” and that’s it.’
‘Jack Ryan: Shadow Recruit’ is released nationwide on 31 January.
‘Somehow,feminism
becameadirtyword. I thinkit’sgreat thatwe’recomingoutof that’
ALEXI LUBOMIRSKI
Chiffon and leather top,
£2,000; matching skirt with
Plexiglas detail, £2,500, both
Fendi. Silk scarf, £93, Louis
Vuitton. Mesh and leather
shoes, £380, Bionda Castana
Cotton and silk dress,
£2,650; silk socks, £185,
both Agnona. Leather
sandals, £610, Michael Kors.
Pink gold earrings, from a
selection, Cartier. Yellow
gold ring, £475, Laura Lee
ALEXI LUBOMIRSKI
ALEXI LUBOMIRSKI
THIS PAGE: wool dress( just seen); matchingheadscarf, both froma selection, MaxMara.OPPOSITE: cotton shirt,£470, Bottega Veneta.Jacquard crocodile-printtrousers, £610, StellaMcCartney. Leatherboots, £299, PenelopeChilvers. Diamondearrings, £14,600, Buccellati
THIS PAGE: silk andlace dress, £1,660, StellaMcCartney. Leather sandals,£610, Michael Kors. Whitegold and pearl ring, froma selection, Chanel.OPPOSITE: linen jacket,£730; matching shorts,£320; leather belt, £220,all Michael Kors. Diamondearrings, £14,600, Buccellati.Gold ring, from a selection,Buccellati. See Stockists fordetails. Hair by Ben Skervinfor Vidal Sassoon Pro Seriesat the Magnet Agency.Make-up by Kay Montanoat D+V Management, usingChanel Le Lift and S/S 14.Manicure by Mike Pocockat Streeters, using Chanel.With thanks to Firle(www.firle.com)
ALEXI LUBOMIRSKI
B o t t e g a Ve n e t aCotton shirt, £470; cotton
and leather skirt, £1,705
Burber r yProrsum
Cashmere cardigan, £1,995;
organza shirt, £450; cotton skirt,
£595; cotton knickers, £295;
rubber sandals, £450;
leather clutch, £795
Bazaar showcasesachic selectionof themostirresistible looks fromtheS/S14catwalks
C o l l e c t i o n s
T h e
PHOTOGRAPHS BY TOM ALLEN
STYLED BY CATHY KASTERINE
S a l v a t o r e Fe r r a g a m o
Cotton jacket, £1,929; cotton jumper, £985; cotton skirt, £669;
leather heels, £815
TOM ALLEN
L o u i s
Vu i t t o nBlack mesh top; black leather
boots; black feather headpiece, all price on request. Indigo
denim jeans, £350
Miu MiuSilk dress, £1,650; cotton socks
( just seen), £110; perspexnecklace, £360; leather bracelet,
£230; leather bag, £1,180
TOM ALLEN
DiorSilk top, £930; silk skirt, £1,500;
satin and leather heels, £750;
pearl necklace, £2,800
GucciGeorgette dress, £4,120;
matching trousers, £490;
silk bra, £325
Va lent inoLace dress, £6,525; brass
necklace, £490; brass bracelet,
£370; leather hairband, £255
TOM ALLEN
ChanelTweed jacket, £7,075; matching skirt, £3,540; leather and wool boots, £575; metal and pearl
rings, £530 each
TOM ALLEN
S a i n t L a u r e n t b y He d i S l i m a n e
Black satin jumpsuit (sold with belt), £2,170; silver leather boots, £520
Dolce &
GabbanaChiffon dress, £12,975; silk bra
( just seen), £195; matchingknickers ( just seen), £130;
crystal headband, about £440
Giorg ioA rman i
Jacquard dress, £12,520
TOM ALLEN
Cél ineJersey top, about £1,380;
silk skirt, about £1,170; calf-skin heels, about £1,505; organza
collar; metal bracelets and resin bracelet, all price on request
Donna
K a ranSilk dress, about £1,790; leather sandals,
about £490; leather necklace, about £490;
leather belt, about £690
TOM ALLEN
R a l p h L a u r e n C o l l e c t i o n
Black and white silk jacket, £3,190; matching waistcoat, £1,190; matching
trousers, £1,650; white cotton shirt, £690; black and white crepe de chine tie, £190
PradaJersey dress (worn as top), £1,470;
silk skirt, £1,340; wool footless socks, £190; suede heels, £770; jewelled
leather cuff, £1,120; elastic and feather thin bracelet, £150
TOM ALLEN
TomFordLeather jacket, £5,720;
crocodile-skin skirt, £11,290
TOM ALLEN
Givenchy byR icca rdoTisci
Sequined dress; cotton knickers,both from a selection; leather andcrystal sandals, about £700; metal
earring (sold as a pair), £340;metal earrings, from a selection
Ch loéWhite georgette dress, £2,960
TOM ALLEN
Michael
KorsLinen dress, £4,000; leather sandals,
£565; leather belt, £250. See Stockists fordetails. Hair by Raphael Salley at Streeters
London. Make-up by Shinobu at CLM Hairand Make Up, using Bobbi Brown. Manicure
by Adam Slee at Streeters London, usingRimmel London. Model: Julia Frauche atNext Model Management. Shot at SpringStudios and on location at Avington Park
(www.focus-locations.co.uk)
The secrets of anOscar triumph?Heart, hardgraft andabrilliantly cunning strategy
BY CHARLES GANT
AND THE WINNER IS…
www.harpersbazaar.co.uk138 | HAR P E R’S BA ZA AR | February 2014
Alfonso Cuarón and Sandra Bullock, the director and star of Gravity, photographed by Robert Ascroft.Opposite: Chiwetel Ejiofor, who plays Solomon Northup in 12 Years a Slave, photographed by Henry Bourne at the May Fair Hotel
inning an Academy Award may be the
ultimate accolade, a mark of respect from your industry peers, but
Judi Dench, for one, knows that it’s never just about your perfor-
mance. After she earned her very first Oscar nomination at the age
of 63 as Queen Victoria in Mrs Brown, and then won the following
year for playing another queen, Elizabeth I, in Shakespeare in Love,
she felt a tribute to the savvy US distributor of both of those films
was in order. She asked her make-up artist to apply a fake ‘Thanks
to Harvey’ tattoo to her backside, and then mooned the bemused
Mr Weinstein over lunch that day at the Four Seasons in New York.
Following several more nominations for films distributed by
Weinstein, Dench’s appreciation remains
undimmed. ‘Maybe it’s time I just had
“HW” tattooed on my backside for real,’
she recently quipped. And if Dench wins
her second Oscar this March for Philomena
– another Weinstein awards contender, in
which she plays an Irish woman forced to
give up her out-of-wedlock son for adoption
– we may yet see her fulfilling that pledge.
Actors love to joke about the machina-
tions that go into securing them those
coveted baubles: on winning her Best
Actress award at last year’s Golden Globes,
for example, Jennifer Lawrence thanked
Weinstein (him again) for ‘killing whoever
you had to kill to get me up here today’. Such
jibes may be endearing self-deprecation
(‘Yes I won, although we all know it’s not necessarily just about
my acting’), but the joke is also funny because it hints at a truth. Like
the US presidential election, the Oscars are a popularity contest
where the endless campaigning overwhelms the message. Nobody
gets nominated by accident.
That frenzy of ‘electioneering’ was seen to full effect on our own
shores last October, when stars descended en masse on the 57th
BFI London Film Festival. While galas for films such as the Coen
brothers’ Inside Llewyn Davis (arriving in UK cinemas on 24 January)
and Jason Reitman’s Labor Day (7 February) might be considered
a little early for driving ticket sales, they were perfectly timed for
the attention of a highly prized constituency: awards voters.
Unsurprisingly, the directors of these films – and their stars Oscar
Isaac, Carey Mulligan, John Goodman, Kate Winslet and Josh
Brolin–wereexploited to the full, shuttled fromfestival appearances
to Q&A sessions with Bafta and London-based American Academy
members. Re-enact their schedule of activity 50-fold and you get
some idea of what a major Oscar campaign currently entails.
When the Oscars were created in 1929 as an annual spotlight for
Hollywood, the ceremony’s creators could scarcely have imagined
it would one day develop into a six-month marathon of red-carpet
hoopla and glad-handing. Beginning with the Venice and Toronto
film festivals in early autumn, the annual awards race now starts
in earnest in September, when bloggers and mainstream media
begin sifting through the contenders and counting down to the
Oscars in March.
London’s central position in the awards-season merry-go-round
has grown steadily since 2001, when the Bafta chief executive
Amanda Berry had the smart idea of moving its film awards to a
pre-Oscars slot, instantly transforming what had been a minor coda
intoakeybellwetherofAcademyAwards success.TheLondonFilm
Festival has reaped the rewards, opening its 2013 programme with
one major Oscar contender – Tom Hanks in Paul Greengrass’
Somali piracy thriller Captain Phillips – and closing with the world
premiere of another: Saving Mr Banks, with Emma Thompson
as the Mary Poppins author PL Travers tussling with Walt Disney
(Hanks again) over the film adaptation of
her precious novel. In between, two
of Thompson’s competitors in the Best
Actress race – Gravity’s Sandra Bullock and
Philomena’s Dench – were whisked between
festival screenings and other events in
pursuit of their own awards strategies.
Although the Oscar season typically
likes to admit at least one fresh face to its
ranks, which this year belongs to the beau-
tiful Lupita Nyong’o, a revelation as a
brutalised slave girl in Steve McQueen’s 12
Years a Slave, it is still the major stars who
hold the upper hand. The voters may be sea-
soned industry insiders, but they are hardly
immune to the fairy dust that trails in the
wake of a George Clooney (the only man
alive to have been Oscar-nominated for producing, directing,
lead and supporting roles and in both screenplay categories) or a
Meryl Streep (17 Oscar nominations for acting, and now contending
for her 18th with the family drama August: Osage County, another
Weinstein film). Since the main challenge for awards strategists is
getting voters to watch the films, the lure of a screening where
the leading star is actually in attendance seems impossible to resist.
Studios hate to disclose figures, but when you consider the cost
of flying actors to screenings in London and on both American
coasts, of couriering watermarked DVDs to voters, employing
the services of awards strategists and rolling out targeted ‘for your
consideration’ marketing campaigns, it’s obvious that the sums
extend to millions of dollars.
But if the nominations and prizes materialise, those costs are
more than justified. Five Academy awards in 2012 for the black-
and-white silent film The Artist, including Best Picture, Director and
Actor, drove up box-office receipts to CONTINUED ON PAGE 180
TheOscars area popularitycontest –
nobody getsnominated by
accident
www.harpersbazaar.co.uk140140 || HAR P E R’S BA ZA AR | | February 2014
W
▼
Clockwise from top left: George Clooney, who appears in Gravity and co-produced August: Orange County,photographed by John Balsom. Steve McQueen, the director of 12 Years a Slave, photographed by Henry Bourne
at the May Fair Hotel. Judi Dench, the star in Philomena, photographed by Sarah Dunn. Tom Hanks and PaulGreengrass, the star and director of Captain Phillips, photographed by Jay L Clendenin
PHOTOGRAPHS:SARAHDUNN/CONTOURBYGETTYIM
AGES.JAYLCLENDENIN
/CONTOURBYGETTYIM
AGES
EMMA
THOMPSON
STYLED
BYCATHYKASTERIN
E.SEESTOCKISTSFORDETAILS.HAIR
BYKEN
O’ROUKE.MAKE-UPBYTANIA
GRIER.STYLIST’S
ASSISTANT:BENJAMIN
CANARES
Emma Thompson, who portrays the author PL Travers in Saving Mr Banks, photographed by Nick Haddow wearing black lace dress, from aselection, Dolce & Gabbana. Platinum and diamond earrings, from £12,000; platinum and diamond ring, £8,000, both Boodles. Other ring, her own
Carey Mulligan and Oscar Isaac, the stars of Inside Llewyn Davis, photographed by Henry Bourne at the Soho Hotel
A S T A R
A P A R T
BY LYDIA SLATER
PHOTOGRAPHS BY DAVID SLIJPER
STYLED BY MIRANDA ALMOND
abrilliantactresswhoaspires tobeanovelist…NaomieHarris is anenigma–aHollywoodstarwhogoes incognito,
andasexsymbolwhoneverstripsoff
THIS PAGE: Naomie Harris wears sablé dress, £1,895; rubber belt with flower details, £395, both Burberry Prorsum. OPPOSITE: silk top, from a selection; embroidered skirt, £1,774, both Peter Pilotto. Gold and diamond ring, £3,600, H Stern
Cotton lace shirt, £495; matching skirt, £595; rubber sandals, £450, all Burberry Prorsum. White gold
and diamond ring, £2,300, Stephen Webster. See Stockists for details.
Hair by Chi Wong at Julian Watson Agency, using Kiehl’s. Make-up by Maxine Leonard at Jed Root, using
Chanel Le Lift and S/S 14
s Naomie Harris glides into the Refuel restaurant
inLondon’s chicSohoHotel, heads turnat every table. She’swearing
skinny leather trousers, Louboutin boots and a black Margiela
jumper, and her effortless elegance and the intelligent beauty of
her face make her stand out. Nevertheless, an air of slight puzzle-
ment pervades the room. This is clearly somebody, but nobody is
quite sure who. And that’s exactly how this elusive actress likes it.
‘Being recognised everywhere would be horrific,’ she says. ‘I’ve
seen what it’s like for Daniel Craig.’
Harris’ quest to remain anonymous, despite her fame and
success, has seen her pursuing roles that are as different from
one another as possible. As Winnie Mandela in the much-lauded
Mandela: Long Walk to Freedom, she brings tears to the eyes. Her next
rolewill beacomplete contrast, as she takeson thebutt-kickingMiss
Moneypenny in the new Bond movie. This versatility is a point
of principle. ‘My American agents had real
problems because they couldn’t understand
that the girl in Pirates of the Caribbean
was also the girl in Miami Vice, and in
28 Days Later,’ she admits. But she’s not
worried about the prospect of missing out
on roles as a result. ‘I’ve never been material-
istic – I just choose roles that interest me.
That’s been an advantage because I’ve never
been typecast.’
In other ways, too, Harris defies the
expectations of the all-powerful film
industry. As a strikingly beautiful woman,
she has naturally been expected to disrobe
on screen. And she has been steadfast in
her refusal ever to do so. ‘No arse, no tits,’
she says flatly. ‘It’s always a body double.
I am a very strong person. I’ve always been
different – and I’m wilful. You can’t persuade me to do something
if I’ve decided against it. If something doesn’t work out, then the
role isn’t mine, it wasn’t meant to be. But it’s never happened.’
Harris’ insistence on ploughing her own furrow is possibly an
inherited characteristic: her mother, Carmen, who is of Jamaican
descent, had her when she was just 18 and brought her up alone.
Naomie recalls sitting in a corner and drawing as a small child,
while her mother attended sociology lectures at university.
Subsequently, Carmen became a scriptwriter for shows including
EastEnders, and is now a healer. ‘She always instilled in me this belief
that anything was possible and that challenges didn’t exist,’
says Harris admiringly. ‘People talk about racism, but my mum
would say, “It’s only in your head.” Given that she was still a child
herself really, it was quite extraordinary. I still believe I can fly –
because anything is possible.’
The actress’ desire to act is similarly innate. Although Harris
was a shy child, she was also a natural performer. ‘At five, I’d be
acting in front of the mirror, making myself cry. I always knew I
wanted to be an actress.’ By the time she was 10, she was a regular
on the BBC children’s TV series Simon and the Witch. After studying
social and political science at Cambridge, she attended the Bristol
Old Vic Theatre School; her first major role, in Danny Boyle’s post-
apocalyptic horror film 28 Days Later, shot her to international
fame. Appearances in big-budget blockbusters, including two
Pirates of the Caribbean films, Miami Vice
and Skyfall, have followed, interspersed with
well-regarded indie films such as Michael
Winterbottom’s A Cock and Bull Story. She
also played Elizabeth Lavenza in Boyle’s
stage production of Frankenstein at the
National Theatre – a role that wasn’t origi-
nally envisaged for a black actress, but as we
know, Harris enjoys confounding expecta-
tions. However, she is not comfortable with
being a spokesperson for equal opportuni-
ties. ‘I’m not sure whether it helps to get on
my soapbox about it,’ she says in her low,
musical voice. ‘I think, do the best you can,
try and create jobs for yourself where there
weren’t any before, and just by doing that,
you become a role model.’
Harris’ career is soaring, but she is hap-
piest with her feet on the ground. She has just bought her first home,
on thesamenorth-Londonstreet ashermother’s, andspendsasmuch
time as she can there, reading and pottering around her kitchen. ‘My
life has nothing to do with the film world at all,’ she says. At 37, her
face remains youthful, and Harris says she has no fear of ageing.
‘I love it. I love the way I’ve become more comfortable in my own
skin. I remember being younger, trapped in my shyness, just wanting
to disappear. It’s such a relief to feel I’m here and happy being me.’
And the thought of cosmetic surgery makes her burst out laughing.
‘I definitely haven’t had any work done. Believe me! That strange,
bloated, Botoxed face isn’t very attractive – and to have life written
on your face is an important part of being an actress,’ she says.
Having worked with children for the Mandela film, Harris
says she would now love to start a family of her own. She’s not
worried about the implications of taking a career break to do so – for,
despite her success, her real ambitions lie elsewhere. ‘At 13, I wrote
a novel,’ she says. ‘In the long term, writing is definitely what
I’m going to do.’ And with that, this charmingly contrary star
slips away and melts effortlessly into the crowd.
‘Mandela: Long Walk to Freedom’ is released nationwide on 3 January.
‘I amaverystrongperson.Youcan’t
persuademetodosomethingif I’vedecidedagainst it’
M
www.harpersbazaar.co.uk148 | HAR P E R’S BA ZA AR | February 2014
ention her name and what do you get?
Invariably hoots of delight and a flush of excitement. No other
actress elicits the kind of affection that Angela Lansbury does.
Thanks to Murder She Wrote alone, she is practically idolised. So
we can expect London audiences to worship even more zealously at
her altar this spring when she takes to the West End stage in a revival
of Noël Coward’s Blithe Spirit. Reprising the role she performed
(to Tony-winning acclaim) on Broadway in 2012, Lansbury plays
Madame Arcati, the eccentric clairvoyant invited to the house
of the novelist Charles Condomine, who
inadvertently conjures up the ghost of his
prickly first wife. The character has the dis-
tinction of being talked about a great deal
before she appears; in Coward’s stage direc-
tions she is ‘a striking woman not too
extravagantly dressed, but with a decided
bias towards the barbaric’. It is one of thea-
tre’s most anticipated entrances and not
dissimilar, I feel, to a first meeting with
Lansbury, preceded as she is by her spectac-
ular career in film, stage and television and
the gushing approbation of her colleagues.
‘I can’t think of anyone more highly
thought of, certainly in musical theatre. I
find her just nonpareil,’ says the lyricist and
composer Stephen Sondheim, who worked with her on Anyone Can
Whistle, Gypsy and Sweeney Todd. ‘She’s a laugh, a fantastic theatrical
battle-axe, in the best sense of the word, and she demands respect,’
says Rupert Everett, her Blithe Spirit co-star on Broadway. And
Emma Thompson, who acted alongside her in Nanny McPhee, adds
in an email: ‘What’s it like working with a legend – one who can sing,
dance, act, and all at once? It was fun. Because in spite of all her
achievements, Angela is never grand and always like the fabulous
girl she was in her youth. Girlish still and kindness incarnate. She
was incandescent on set and you could not take your eyes off her.
Very funny, too. She came over for lunch to my sister’s house and
sang “Bobbing Along” [from Bedknobs and Broomsticks] at the table.
Great tears rolled down our cheeks. The kids thought they’d died
and gone to heaven.’
I’m invited for tea at Lansbury’s New York apartment near
Central Park where her assistant, Sarah, opens the door and ushers
me into a modest, comfy front-room. Two cups of Yorkshire Gold
are set down on the coffee table before Lansbury emerges – dressed
in a dark-blue blouse and trousers, a silk scarf around her neck. She
looks elegant and welcoming, but also frailer than I expected,
though of course I’m used to seeing her as Jessica Fletcher – a role
sheoriginallyplayedalmost20years ago; she
is now 88 years old.
Last night, she tells me as we sink into
beige sofas, she went to see Waiting
for Godot, ‘with the Sirs’, meaning Ian
McKellen and Patrick Stewart. ‘How were
they?’ I ask. ‘Absolutely fantastic. The
energy, the get-up-and-go is just terrific.’
Already I’m struck by her gestures,
uncannily familiar after years of watching
her on screen. Her eyes, in particular, grow
large and expressive like an owl’s. In her
lap she clutches a pair of spectacles, presum-
ably for reading because, unaided, her
gaze darts to a watercolour on the wall
behind me that is hanging slightly askew.
She breaks off. ‘That picture’s been driving me crazy for weeks.’ I get
up to adjust it. ‘Yes, down a little to the left. That’s about it. My nice
housekeeper has a way of dusting things out of line.’ I sit back
down. ‘Now,’ she says, summoning me to CONTINUED ON PAGE 179
turnonBroadway inhereighties.Nowtheactress,whowasfirstnominatedAngelaLansbury’s career stretches fromachildhooddancing inRegent’sPark toastar
foranOscaraged20opposite IngridBergman, isback in theWestEndBY AJESH PATALAY
PORTRAIT BY TRENT McGINN
P L A Y F U LS P I R I T
‘What’s it likeworkingwithalegend? Itwasfun.She’sgirlishandvery funny’
EMMATHOMPSON
STYLEDBYYETYAKIN
OLA.ANGELALANSBURYW
EARSW
HITESILKTOP,FROM
ASELECTIO
N,EILEENFISHER.ALLOTHERCLOTHES,HEROW
N.SEESTOCKISTSFORDETAILS.HAIR
ANDMAKE-U
PBYSANDRIN
EVANSLEEATARTDEPARTMENT
BY AVRIL MAIR
PHOTOGRAPHS BY CHRISTOPHER STURMAN
andahigh-societyheritage–could these addup toAballet pump, abohemian sensibility
ToryBurch, the capable queenofNewYork styleabillion-dollar fashionbrand?Yes, in thehandsof
TOUCH
GOLDEN
Really, where to start with Tory Burch? She’s
a self-made billionaire with a fashion empire
to rival Ralph Lauren; a philanthropist who
campaigns passionately for female entrepre-
neurship; a style icon with a place on the
International Best Dressed List; an all-
American beauty who’s a fixture on New
York’s social circuit. She’s the single mother to three teenaged sons
(can you believe it?), as well as three older stepdaughters. She has an
estate in the Hamptons that’s been described as ‘the sort of house
Jay Gatsby built to bedazzle Daisy Buchanan’, and a 10-bedroom
apartment at the Pierre Hotel on Central Park. At the age of 47, she’s
a woman who seems to have nailed that fantasy ideal of having it all.
She also happens to be likeable, relatable, charming and self-
effacing. She is, as the usually circumspect The New York Times has
said, ‘perfectly perfect’. It’s almost too much.
That her company received its valuation in 2012 following acri-
monious divorce proceedings with her former husband Chris Burch
is the only downside. But still, just nine years ago, Tory Burch was a
stay-at-home mom with an unremarkable background in PR and
copywriting. She studied art history at college; she had no skills in
sketching or sewing, no design training, no business experience.
Sure, she was born into an enviable Philadelphia family – her finan-
cier father, Buddy Robinson, dated Grace Kelly and liked to line his
dinner jackets with Hermès silk scarves, while her actress mother
Reva was a friend of Steve McQueen and Marlon Brando – but Tory
was a tomboy, fond of ponies and playing tennis with her three
brothers, shy and unshowy, the archetypal girl next-door. She only
became interested in clothes when her mother bought her a prom
dress from YSL, ‘pink sequin and black tulle – enormous’. So how
did she transform this into a brand whose turnover last year was
$800 million? ‘I just thought,’ she says, ‘that there might be a little ▼
The designerTory Burchin her office inManhattan
Burch wearinga dress from her
S/S 14 collection
HAIR
BYTARA
JARVIS.MAKE-U
PBYBERTA
CAMAL.PHOTOGRAPHS:CATW
ALKIN
G.COM
gap to make the kind of affordable things I liked wearing. That’s all.’
It isn’t, of course. Tory Burch has created a compelling narrative
around her name; if Ralph Lauren epitomises a romantic ideal of
Americana mixed with traditional English style, then hers is an alto-
gether more modern fantasy, encompassing a graceful Upper East
Side glamour with downtown cool and a bohemian sensibility that’s
inspired by her own wanderlust. Though hard to quantify, it is – basi-
cally – down to exquisite personal taste: Burch has built all this
on instinct alone. ‘Design has never been part of my career,’ she
acknowledges. ‘I simply felt something was missing in my wardrobe.
I had three babies under the age of four, I was working for LVMH
while Narciso Rodriguez was at Loewe, and I realised I couldn’t keep
up the pace. So I decided to just be a mom – but I knew I wanted to
start some sort of company and so I began to put image books
togetherofwhat inspiredme. Itwasveryeasy,
classic American sportswear but with a bit
more of a global outlook. I thought we could
make nice things that didn’t cost a fortune.’
Could an empire ever be summed up
so simply? ‘One of the reasons why this
companyhashad some traction is thatwe’ve
looked at things differently,’ she says. ‘I
didn’t go to business school and I didn’t go to
design school, so I’m coming from a place
where we try new things.’ Launched with its
own store in downtown Manhattan during
Fashion Week in February 2004 – Tory and
her stepdaughters working through the
night to get it ready in time – the debut
collection of simple print tunics and ballet
flats sold out instantly, over $100,000’s worth of stock in the first day.
Although there’s now a Tory Burch catwalk show every season,
and the design has become more of a statement, the Reva ballet
pumps – named in honour of her mother, ‘the most stylish woman
I know’ – remain a staple of the business, selling in more than 1,000
stores (including 90 of her own) in over 50 countries worldwide.
While she was an early adopter of social media, and the
Tory Blog on her website rivals Gwyneth Paltrow’s Goop, with its
window into her enviable life, there’s something
charmingly old-fashioned about Burch’s
glamour and manners. Sitting in her suite
of offices in Manhattan’s Flatiron District, perched attentively on
the edge of a velvet sofa in a Chloé pussybow blouse with polka dots
(‘the trousers are ours’), her elegance seems to come from another
age. Every Friday afternoon, she spends two hours arranging
the flowers for her Hamptons home: ‘It’s sort of therapeutic for me.
I learned it from my mother, who would always put together a
beautiful table, even if it was just our family.’
It’s no surprise, then, that her parents’ sense of style has inspired
the latest Tory Burch launch. She is, finally, entering the beauty world
with a fragrance – of course – but also a capsule cosmetics collection
and a bath and body line. All are directly influenced by her mother
and father, as well as by Burch’s own ability to make simple, timeless
luxuries feel modern. ‘I wanted the scent to be tomboy meets femi-
nine,’ she says. The starting point was the classic men’s cologne
Vetiver: ‘My father always wore that and he smelled so good.’
Tuberose, jasmine, pink peony and sweet alyssum were also added
as a nod to her love of flowers; the result is
a surprising scent that comes in a bottle
topped with gold fretwork, inspired by
memories of her mother’s dressing table. ‘I
grew up playing with these beautiful crystal
bottles that she had – I was always experi-
menting with her fragrance and make-up,
then being thrown in the bath afterwards
because it was such a disaster. I wanted
something that would look just as good in
my house.’
As for the cosmetics collection, ‘less is
more’, says Burch, who has edited it down to
a handful of key products: a lipstick, a cheek
tint and a blush palette. ‘I always think that
women who wear less make-up look more
beautiful. But I do love make-up, so how do you wear it so that it’s
not wearing you? And that’s how we look at clothing as well… sort
of, “How do you look fresh and feel great but not overwhelmed?”’
If you were to sum up her success, this might just be the way to
do it. Really, the only thing that’s overwhelming about Tory Burch
is Tory Burch herself.
The Tory Burch Beauty Collection is available exclusively at Harrods from
21 January.
Hers ismodernfantasy ofUpperEast
Sideglamouranddowntown
cool
Above: catwalk looks from the Tory Burch spring/summer 2014 collection
S1
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Edited by SOPHIE BLOOMFIELD
SHININGLIGHTS
How do A-listers maintain their manes, pamper their pins and polish their skin
to perfection? We reveal the greatest celebrity secrets…
Portraits by DAVID SLIJPER
Jersey dress, £1,095,Burberry Prorsum.Diamond earrings,
from a selection,Dolce & Gabbana
BEAUTY BAZAAR
DAVID SLIJPER
Silk cady dress,£4,450, Ralph
Lauren Collection
pumping it with hydration is, it seems,
the real key to A-list skin.
Dr David Colbert, the New York-based
celebrity dermatologist of choice, follows the
same deceptively simple polish-and-plump
routine. ‘Vermeer mixed illuminance into his
paint to help create that glow on skin; I do it with
a combination of exfoliation, LED (light) and
intense hydration,’ he tells me. ‘It makes the skin
into the perfect light reflector so you get that
luminosity – it’s not about age at all, it’s about
achieving that quality of skin.’
Setting up camp in Beverly Hills a week before
the Oscars, he’s fully booked primping the skin
of the great and the good. To keep clients happy
between visits, both he and Lens have their own
concise rangeofproductsbasedon the sameprin-
ciples as the treatments offered in their clinics.
‘It’s not about doing lots of things, just the
right things,’ Colbert explains. ‘Great skin
is about exfoliation, getting hydration
into the skin and using an oil to get the
dewy glow. You can use a million
things, but nothing gives that same
quality of skin.’
GLOWING SKIN
1 Polish of dead skin cells to
create a smooth, light-reflective
surface (plus, subsequent
products will absorb better).
Dr Lens recommends using
a glycolic peel, then a grainy
scrub for the ultimate skin
polish. Try Colbert MD Intensify
Facial Discs; or Dr Lens’
Zelens Micro-Refiner
Bi-Active Exfoliator.
2 Moisturise with a hydration
mask or serum, or both;
I regularly swap my night
cream for a hydrating mask,
while make-up artist Andrew
Gallimore tells me the secret
to the exquisite skin that he
creates is to ‘first saturate
the skin with layers of
Dior’s Hydra Life Mask’.
3 Nourish with a natural oil,
as these are easily absorbed
and won’t leave skin greasy.
We like Colbert MD Illumino
Face Oil and Dr Sebagh
Rose de Vie Sérum Délicat.
Perfect skin is the non-negotiable prerequisite for any A-list
star. Achieving it, however, is not so simple, as filming sched-
ules and camera phones keep those celebrities working and
in the prying public eye at most times. It may be a problem for them,
but it is of real benefit for the rest of us, as this has directly led
to the ongoing development of treatments and
products (particularly from the doctors who
treat stars) that give real results without the need
for a few weeks recovering behind closed doors.
So, when I recently found myself lying on
a cream leather couch in a Harley Street clinic as
Dr Marko Lens painted a gently fizzing gel onto
my face, I felt calm and relaxed. ‘The skin goes
almost black, but in a few hours you’re fabulous,’
he reassured me. His famous Red Carpet Facial,
£250, had indeed turned my skin a shade of slate
grey, but as this treatment was developed specifi-
cally for his famous clients to have on the day
of an event, I know my face is in safe hands.
A few more layers (of his products going on,
my skin coming off ) and a blast of oxygen and
intense hydration, and all is beautifully dewy
and glowing. In fact, for the next six weeks
my skin looked better than it ever had. Forget
cleanse, tone and moisturise – this more clinical
approach of gently polishing the skin before
From far left: Clarins HydraQuench Intensive Serum Bi-Phase, £41. Colbert MD Illumino
Face Oil, £100. Zelens Transformer Instant
Renewal Mask, £95. Dr Sebagh Rose de Vie Sérum Délicat, £129. Dior Hydra Life Mask, £30.50. Top:
Colbert MD Intesify Facial Discs, £52 at Space NKS
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February 2014 | HAR P E R’S BA ZA AR | 157
Exfoliate and polish: the real secrets of a celestial complexionSTA R RY SK I N
By NEWBY HANDS
▼
www.harpersbazaar.co.uk
There’s little I wouldn’t do for a pair of those coltishly toned
legs fit to grace the red carpet. Besides the lifestyle benefits
of going out with pristine pins, I covet the low-maintenance
nature of legs that are ready to go with just a slick of dry oil.
Yet, past a certain age, it takes a little more than hair removal
and self-tanning to go tightsless. Attaining thoroughbred legs comes
down to one (deeply unsexy) prospect: varicose-
vein treatment.
It’s a cruel injustice that nature decides
to reveal unsightly spider veins just as decades
of waxing finally pay off, but ‘about 40 per cent of
adult women have a degree of venous reflux’, says
Professor Mark Whiteley, the most renowned
vascular specialist in the country. Half are like
me, vainly seeking treatment in the hope of
looking better in a leather pencil skirt; the
other half, according to Whiteley, ‘have hidden
varicose veins, which, while not visible yet, will
cause everything from spider veins and puffy
ankles to skin staining and leg ulcers’.
Apart from the fact that I’m unwilling to
relegate myself to tights (although Carine Roit-
feld makes a compelling case for 15 deniers),
leg ulcers are not a health prospect I can ignore.
Cue my appointment at Whiteley’s clinic for
the scan that prefixes every treatment. ‘You
cannot rely on the arbitrary appearance of the
legs,’ he explains. ‘Unless the root causes are
treated, veins will reappear in about three
months.’ Hence his cautionary warning against
the aesthetic clinics that happily zap surface
veins without ascertaining their source.
Indeed, my scan reveals that the ugly veins behind my knees and
onmyanklesoriginate inmythighs, andmyright leg ishidingadeep
truncal varicose vein that ‘looks mildly unsightly now, but will turn
green and bobbly if you leave it’. So what are my options? He recom-
mends deep endovenous laser ablation to destroy the varicose vein,
foam injections (to remove smaller veins in both legs), ‘followed by
microsclerotherapy to remove any tiny veins, although most of the
smaller surface veins will disappear on their own’.
I inwardly sigh at the complexity of it all, but appreciate that this
treatment will garner the best results. So, six weeks later, I’m on an
operating table, fully conscious, while the treatments are adminis-
tered. With calming hand reflexology (a nice
touch) and plenty of pain relief, as medical proce-
dures go, this is surprisingly untorturous; unlike
the following fortnight. After my operation, I’m
bandaged and bound into hideous stockings that
cannot be removed for two weeks, lest trapped
blood stain my skin. I look, and feel, hideous: my
toes go blue; the itching is intolerable; and, when
the bandages are removed, my legs are hairy,
puffy and sketched with aubergine lines where
the veins used to be. Whiteley wasn’t lying when
he said: ‘It can look worse before it looks better – it
takes three months for it all to fade.’
Five months later, the big veins have gone and,
following a course of Soprano laser hair removal
and leg-specific workouts, I’ll visit Whiteley for
my microsclerotherapy next week. After
this, it will take more than a cold
winter to keep me in tights – This
Works Skin Deep Dry Leg
Oil, here I come.
Endovenous Laser Ablation,
from £1,998; and Foam
Sclerotherapy, from £846, at
the Whiteley Clinic (01483
477180; www.thewhiteley
clinic.co.uk). Go to www.
harpersbazaar.co.uk to read
Sophie’s leg diary in full.
TONED LEGS
The trainer Christina Howells
has fast changed the shape of
my legs. Body by Christina
(www.bodybychristina.com).
The shaper Dr Gupta performs
microcannular liposuction,
removing pockets of fat on the
thigh. Expect a local anaesthetic,
bruising for four weeks, and
a final efect in two months.
From £2,600 at the Private
Clinic (0800 599 9916; www.
theprivateclinic.co.uk).
Hair removal After five sessions
with a Soprano laser at Rita
Rakus’ Knightsbridge clinic, my
legs are baby-smooth. From
£80 (www.drritarakus.com).
Knees Vaser liposuction means
45 minutes on an operating
table while knee demon Dr Wolf
sucks out tiny amounts of fat.
Weeks of control tights follow
and, finally, I have knees that
garner compliments. £2,600 at
the Private Clinic (as before).
From far left: BelleBody Buffer, £295 at
Harrods.com. ThisWorks Perfect Legs Skin
Miracle, £37; ThisWorks Skin Deep DryLeg Oil, £39.50. PrttyPeaushun Skin TightBody Lotion, £25.Top and right: Elle
Macpherson RotatingDry Brush, £39.99
T
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The latestmethods for
achieving lissomelimbs
A-LIST LEGS
By SOPHIE BLOOMFIELD
158 | HAR P E R’S BA ZA AR | February 2014 ▼
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BEAUTY BAZAAR
Satin bra, £35, What Katie Did. Lace knickers, £45, Donna Karan Intimates at Harvey Nichols. Wool dress, from a selection, Oscar de la Renta
The full-bodied blow-dry has had its moment in the A-list
spotlight. ‘Celebrities want to look glamorously undone
and natural,’ the hair stylist Harry Josh reveals. ‘The new,
effortless, slept-in blow-dry is more youthful.’ While this might
seem low-key, closer inspection shows that these tousled
tresses embody high-definition perfection with the right
amount of volume and zero frizz. And the look
is not just reserved for red-carpet events – for
Gwyneth Paltrow, Elle Macpherson and Victoria
Beckham, there’s no such thing as a bad-hair day.
The foundation for this new blow-dry,
according to Josh, is: ‘Detailed colour and a cut
that flatters the hair’s natural texture.’ The colour
requires enhancement and upkeep. ‘My clients
know what suits them, and it’s about mainte-
nance,’ says the colourist Josh Wood. Nicola
Clarke, who colours Paltrow’s hair, agrees: ‘It’s
about making slight tweaks to define the colour
– going lighter around the hairline; or, if she
needs to go darker for a job, putting slices under
the parting that will fade.’ Having avoided
hair dye for most of my life,
I can cope with slight, subtle
changes without suffering
any palpitations; Wood
assures me that small
adjustments, such as
the roots and lighter
at the ends, will add
instant definition.
going slightly darker at
and book a maintenance
appointment in-between.
3 No specific shampoos
or conditioners are required,
but try to use gentle formulas.
4 Use a soft-bristle brush,
starting from the ends and
working up towards the roots.
5 Avoid using oil-based
products around the scalp as
it can afect the bonding.
BazaarBazaar recommends: The
hair-extension specialists
Glenda Clarke (020
7854 1112) and Stephanie
Pollard (0800 073 1307),
available on request at
Josh Wood Ateliers.
From far left: Joico K-PakClarifying Shampoo, £13.95.
Mason Pearson MediumBrush, £102. Rahua Omega 9Hair Mask, £47. John Frieda
Full Repair Touch-UpFlyaway Tamer, £10.99.Top: Leonor Greyl Huile
Secret de Beauté, £41
In terms of cut, there has been a shift from
longer to shorter lengths, with celebrities having
inches trimmed off their hair. ‘It’s a backlash
against the longer, big blow-dry that’s been
popular for years,’ says Josh. ‘Long hair has
become too accessible.’ For similar reasons, but
less visible to the eye, hair extensions are now
being used for volume rather than length.
One expert on such matters, who counts some
of Hollywood’s elite as regulars, told me that up
to two-thirds of some A-listers’ tresses can be
extensions, if they’ve been working non-stop and
their natural hair is frazzled from over-styling.
The expert behind Elle Macpherson’s extensions,
Glenda Clarke, explains: ‘Scalp plug-ins are
bonded with keratin an inch away from the roots,
giving them natural flexibility, but most celebs
also have clip-ins to add extra body.’ Both types
are tailormade to look natural and undetectable.
Not only do stars have access to the best hair
styling and colouring experts, including Josh,
Wood and Clarke, but they’re also well educated
in what products to use. After assessing my
routine, Josh recommends switching to John
Frieda’s Full Repair range, using the oil as a pre-
shampoo treatment and the mask once a week.
Having followed his guidance, I can confirm
that the results truly speak for themselves.
HAIR EXTENSIONS
1 Always go for Remy human
hair extensions, as these are less
irritating and easier to work with.
2 Change your extensions
every two or three months,
Celebrities have spent a lifetime discovering what works
for them, and while there are new trends emerging, it’s not
necessary to be a slave to change. Allegedly-low-maintenance
hair does in fact require effort and expertise, but the
style’s youthful effect and lo-fi appearance make it both
timeless and covetable.
ST
ILL-L
IFE
S:G
RA
HA
MW
AL
SE
R
THE
A-LLIS
T HAIR
KKIT
There’snothing low-maintenanceabouttoday’s artfully ruffled locks
HOLLYWOOD HAIR
By VICTORIA HALL
160 | HAR P E R’S BA ZA AR | February 2014
BEAUTY BAZAAR
DAVID SLIJPER
Jersey dress, £1,095, Burberry Prorsum. See Stockists for details. Styled by Miranda Almond. Hair by Karin Bigler at D+V Management, using L’Oréal Paris. Make-up by Andrew Gallimore at CLM Hair & Make Up, using the Dior Trianon Spring Collection and Capture Totale Dreamskin. Manicure by Mike Pocock at Streeters, using Nail Rock. Model: Giedre Dukauskaite at Models 1
www.harpersbazaar.co.uk
PHOTOGRAPH:COURTESYOFBOBBIBROW
N.STILL-LIFES:GRAHAM
WALSER
‘We both have the same philosophy. We
like to see the woman’s beauty first. You
should always notice the beauty of the
person first, and never the make-up or
clothes they’re wearing,’ says the fashion designer L’Wren
Scott of the aesthetic she shares with the make-up artist
Bobbi Brown. It’s fitting, then, that Scott, who focuses on
accentuating rather than disguising a woman’s body, has
collaborated with Brown, who approaches beauty in
much the same way. ‘We are both very creative and
believe that the details make all the difference,’ explains
Brown. ‘It’s all about making a woman feel her best.’
Their limited-edition collec-
tion, Amnesia Rose, is inspired by
flowers, including peonies and
wisteria. But it was Scott’s beautiful
signature grey and lilac Amnesia
roses, which she grows in the
garden of her château in the Loire
Valley, that sparked the initial idea
when the designer sent Brown a
bouquet after her fi rst show. ‘I’d
never seen anything like them,’ says
Brown. ‘They’re grey, but they’re
purple at the same time – they are
fantastic. And the eyeshadow is
very much inspired by the roses.’
Soft floral mauves, heathers
and lilacs dominate this very
elegant eye palette and the four lip
colours; however,Brownand Scott
also wanted to ensure the collec-
tion remained true to their shared
principles, and was something they
would both use themselves. ‘It was
key to have a great charcoal grey
in the palette for creating a smoky eye,’ says Scott. ‘We also wanted
to include a fabulous vintage red – after all, every girl needs to have
a red lipstick, and this is my perfect shade.’
As texture forms such a key role in both Scott’s fashion collec-
tions and Brown’s make-up formulas, the pair decided to spend an
afternoon together exploring different fabrics. In the same way
that every look in Scott’s S/S 14 collection plays with texture and
colour, so does each product in the Amnesia Rose range. ‘It was very
important to me that we create something that would harmonise
with the fabrics,’ explains Scott. ‘However, the most critical thing
for me, and for Bobbi, was that we wanted to try and create
a collection of products that would enhance natural beauty. It’s
what we both aspire to achieve with our work every day. It’s what
brought us together.’
Left: looks from theL’Wren Scott S/S 14collection. Belowleft: L’Wren Scottand Bobbi Brown.Below: Bobbi Brownx L’Wren Scott LipColor in HeatherMauve, Vintage Redand Wine, £22 each
Add a wash of lilac over the top of your nude shade to gently enhance colour.Bobbi Brown x L’Wren Scott Amnesia Rose Palette, £50, available at Selfridges
DA R L I NG
BUDSA heartfelt gift of roses was thestart of a collaboration between
the designer L’Wren Scott and thecosmetics guru Bobbi Brown
on a chic new make-up line
By VICTORIA HALL
Amnesia Roses, £2.50 each, the Flower Stand (www.thefl owerstandchelsea.com)
162 | HAR P E R’S BA ZA AR | February 2014
BAZAAR BEAUTY
www.carrier.co.uk/bazaar
Carrier specialises in luxury tailor-made holidays worldwide.
Service is personal, exible and haute couture.
Clockwise from left: GraceKelly arriving in Monaco in
1956. Virgin Gorda. NewYork. Jerry Hall and Mick
Jagger in Barbados
ESCAPE
The world’s gilded few have always enjoyed getting
away from it all. In the 1930s, the Hollywood set
played in Acapulco, where John Wayne and Johnny
Weissmuller – the original Tarzan – owned hotels.
They also loved the rum, the salsa-dancing beauties, the cigars
and the daiquiris in Cuba. So the Hotel Nacional played host to
Errol Flynn, Edward VIII, Rita Hayworth, Ernest Hemingway,
Fred Astaire and whole conventions of mafiosi.
Hollywood then set sail with Grace
Kelly for the Mediterranean. She signalled
new aspirations for the A-list when she
arrived in Monte Carlo for her marriage to
Prince Rainier of Monaco in April 1956 on
the SS Constitution with her family, brides-
maids, 80 pieces of luggage and a poodle.
Travel in style continued to the Amalfi
Coast in the mid-1950s, with Humphrey
Bogart and Truman Capote dropping in
on Ravello. Ava Gardner and Audrey
Hepburn descended on the Marbella Club
hotel on the Costa del Sol for a spot of
kaftan-clad frolicking in the sand. And
then the jaded celebrity eye roved back to
the Americas, and to the necklace of
tropical-paradise islands that loops from
PuertoRico toVenezuela,
incorporating St Vincent and the Grenadines,
Barbados… and, most particularly, Mustique.
ITC Classics, a travel agency started in the
unlikely town of Chester, opened the Caribbean to pleasure
seekers in the 1970s. Drew Foster, its founder, used to sit with
Princess Margaret in Kensington Palace planning her next trip.
‘The Caribbean had charm,’ recalls Foster’s widow June, herself
a Barbadian who has spent her life between England and the West
Indies. ‘Thecharacterof thepeoplecomes through in the service,
which is more laid-back and personal than in the Far East.’
Foster realised that luxury, for princesses who are sick of
palaces, was dancing barefoot in the sand by a rum shack, or
knocking back a piña colada without fearing who might be taking
a photograph; hence the fame of Basil’s Bar in Mustique, or the
Bamboo Beach Bar in Barbados. Today, in a world much more
closely scrutinised with Twitter, Instagram and Facebook, the
Duke and Duchess of Cambridge feel the same about Mustique
and itsneighbours, asdoMick Jagger, JemimaKhanandvirtually
every other spoiled and paparazzi-shy traveller.
These days, paradoxically, travel is easier
for everyone except the A-list, once the only
people who could holiday abroad at all. Many
of their old Mediterranean resorts are overrun,
their secret South American spots discovered.
They must struggle to find new playgrounds to
explore – but those Caribbean islands still retain
their privacy, and their mystique.
BEACH
A
LIFE’S
TheA-list range farandwide inaceaselessquest forprivacyandluxury, andendupclose tohome
By SASHA SLATER
PHOTOGRAPHS:©
VILLIA
MABRANOW
ICZ/A
RT+COMMERCE,REXFEATURES,MASTERFILE
Alfred Cofee &
Kitchen (+323
944 0811; www.
alfredcofee.com)
on Melrose Place
exclusively brews
Stumptown
Cobee, which
cabeine fanatics
obsess over.
ALFRED
Sweeping up the hotel’s red carpet, you feel
you’ve really ‘arrived’ at this Tinseltown
temple, now rated the deal-making
epicentre of LA. Tables are studded with
actors and agents in the Fountain Coffee
Room, Polo Lounge or the poolside
Cabana Cafe, where no cameras are
allowed, so A-listers can kick back. Early
risers head to the pool to bag their choice
of music piped underwater to accompany
lengths, before climbing out at the feet of…
well, maybe Jack Nicholson. Corridors
wallpapered with the palm-print logo lead
to rooms with marble bathrooms. The
hotel shop sells Charlotte Olympia wedges
and as many logoed beach towels as you
can stuff in a suitcase.
Beverly Hills Hotel (+1 310 276 2251; www.beverly
hillshotel.com), from about £400 a room a night.
Located a short drive from the Dolby Theatre (home of
the Oscars ceremony), the Four Seasons is the ultimate
destination for Hollywood insiders to prepare for awards
season. You are bound to rub shoulders with major
players in the marble lobby, which is dominated by a
bouquet so large it resembles an installation. Work out in
the shaded outdoor gym, or head to the spa, which leads
out to the rooftop pool with views over Beverly Hills.
Four Seasons Los Angeles at Beverly Hills (+1 310 786 2227;
www.fourseasons.com), from about £310 a room a night.
HOTEL BEL-AIR
The swan lake, the spa’s signature caviar
massage and the priceless works of art –
they’re all still here, but the Hotel Bel-Air,
like so many of its clients, has had a discreet
facelift. Little wonder that locals put up
guests here, and treat the hotel bar as an
extension of their own homes. Wolfgang
Puck’s courtyard restaurant is where the
cognescenti brunch, and the concierge can
pull strings to get you a reservation at
Puck’s other restaurant in town, Spago.
The atmosphere of old Hollywood is so
tangible that you almost expect Marilyn
Monroe to be dipping her toes in the
pool – for it was here that Bert Stern
photographed her for that last iconic shoot.
Hotel Bel-Air (+1 310 472 1211; www.dorchester
collection.com/en/los-angeles/hotel-bel-air),
from about £310 a room a night.
The modest deli
Nate ’nAl (+1 310 274
0101; www.natenal.
com) has a cult-like
following – Doris
Day, Nancy Sinatra
and Rita Hayworth
were regulars – and
now Larry King
dines here daily.
NATE ’N AL
BEVERLY
HILLS HOTEL
FOUR SEASONS LOS ANGELES
AT BEVERLY HILLS
February 2014 | HAR P E R’S BA ZA AR | 167 ▼
Desirabledestinations in thelandofglobalcelebrity
By CHLOE LIMPKIN
L O S
ANG E L E S
Littleblack book
Whereto eat
PHOTOGRAPH:XXXXXX
ESCAPE
A benchmark for eco-conscious resorts
when founded by Laurance Rockefeller on
the BVI’s Virgin Gorda in 1964, Rosewood
Little Dix Bay celebrates its 50th anniversary
this year. Eat lobster every day if you wish,
following the hotel’s ‘lobster-eating plan’,
or perhaps catch Rafael Nadal in action at
the World Team Tennis Legends Camp. The
main draws for models and actresses keen
to hone their curves are the state-of-the-art
gym and retreats run by the fitness guru
Frank Baptiste. lucy halfhead
Rosewood Little Dix Bay (+1 284 495 5555;
www.rosewoodhotels.com), from £385 a room a night.
Saint Lucian artist
Llewellyn Xavier,
whose work
(below) hangs
in the Met and
the Smithsonian,
has a studio at Cap
Estate (+1 758 450
9155), which visitors
can view, by
appointment only.
Set to rival Necker
as a party pad,
Valley Trunk on
Virgin Gorda (www.
valleytrunk.com)
is now available
for exclusive rental.
A world-class
chef, masseuse
and concierge
are included.
VALLEY
TRUNK
JAMAICA INN
Glamour, classic colonial design and
total privacy define Jamaica Inn.
Marilyn Monroe and Arthur Miller
toasted their honeymoon here, and
Teddy the barman – still serving a
mean martini at the Beach Bar after
54 years – has fond memories of Noël
Coward and Katharine Hepburn.
The property also includes cottages,
which are dotted around the cove:
the White Suite, on its own peninsula
with a pool, sundeck and breathtaking
views, remains the jet-set’s home
from home. lucy halfhead
Jamaica Inn (+876 974 2514; www.jamaica
inn.com), from about £210 a room a night;
from about £1,360 a night in the White Suite.
Nevis is not especially easy to reach – and
thank heavens for that, for if the island were
better connected, it might have been ruined
long ago. Visitors must fly to St Kitts and
take a ferry – not a long trip, but enough to
preserve Nevis as the same exclusive haven
it was when Princess Diana came here with
her sons, in 1992, to escape the media. Take
a guided tour of the rainforest on the
(dormant) volcano’s slopes, or join other
guests in a lazy game of cricket on the
hotel’s private beach. jean-paul flintoff
Seven nights at Montpelier Plantation & Beach costs
from £1,389 a person B&B in a Premier Room,
including return British Airways flights from
Gatwick and ferry transfers, with ITC Classics
(01244 355 527; www.itcclassics.co.uk).
Whenthework is
done,here’swhere to
kickbackandrelax
THE
CARIBBEAN
What tobuy
ROSEWOOD
LITTLE DIX BAY
MONTPELIER
PLANTATION & BEACH
Littleblack book
168 | HAR P E R’S BA ZA AR | February 2014
LLEWELLYN
XAVIER
February 2014 | HAR P E R’S BA ZA AR | 169
PHOTOGRAPHS:HERBERTYPMA
Cake boutique
Lady M (+1 212 452
2222; www.ladym.
com) pioneered
the 20-layer Mille
Crêpes cake, just
one of the delicious
treats that nestle
like jewels behind
the counter.
LADY M
THE GREENWICH
The dimly lit drawing-room at Robert de Niro’s 88-room
hotel is perfect for going incognito in Tribeca, minutes
from more shopping and nightlife than you could hope to
conquer in one trip. Each room is unique, with oriental
treasures and Moroccan-tiled bathrooms. The hotel is
also home to that rare New York luxury – a pool – part of
a bamboo spa building constructed, nail-free, by Japanese
craftsmen. Velvet sofas, a roaring fireplace and packed
bookshelves are reserved for guests, and alfresco exclusivity
is offered in the flower-filled courtyard. lucy halfhead
The Greenwich (+1 212 941 8900; www.thegreenwichhotel.com),
from about £340 a room a night.
Thebestaddresses inManhattan for themostdemandingclientele
NEW
YORK
Littleblack book
EN Japanese
Brasserie (+1 212
647 9196; www.
enjb.com),
endorsed by Karl
Lagerfeld, boasts
private tatami
rooms for special
occasions, and
legendary scooped
tofu, made fresh
every hour.
EN
JAPANESETHE MARK
Live the Upper East Side dream at the
Mark, a sleek, deco gem whose excellent
concierge will source sold-out tickets
for the neighbouring Met and Frick
galleries. Interior designer Jacques
Grange, whose clients have included
Valentino and Caroline of Monaco, is
responsible for the atmosphere of quiet
luxury. Dine chez chef Jean-Georges
Vongerichten, whose food is as famed as
the hotel’s clientele. A Frédéric Fekkai
salon and John Lobb shoeshine kiosk
mean that from head to toe you will be
as glossy as the hotel. lucy halfhead
The Mark (+1 212 744 4300; www.themark
hotel.com), from about £370 a night in a
Superior Courtyard Queen Room.
Whereto eat
MANDARIN ORIENTAL
Float above New York City in the Mandarin
Oriental’s Suite 5000, launched in October.
Sprawling across the hotel’s 50th floor, this
three-bedroom apartment has unparalleled
views of Central Park and the Hudson.
With floor-to-ceiling windows and Eastern
decor, it provides a tranquil refuge from the
frenzy of the streets. A dining table for
10 and contemporary art collection
curated by the city’s top gallerists make
the space especially cosy and homely
for visiting stars. emma zacharia
Mandarin Oriental (+1 212 805 8800; www.
mandarinoriental.com/newyork), from £535 a room
a night B&B; about £20,000 a night in Suite 5000.
Patty embroideredcover-up, £185; Floridabikini bottoms, £83,both Melissa Odabash
JOIN THE
CELEBRATIONFor its20thanniversary in2014,
BanyanTreeHotels&Resortshas teamedupwithMelissa
Odabashandtravel specialistsCarrier tohelpyouenjoy
anunforgettableholiday
*OFFERAVAILABLETHROUGHOUT2014,SUBJECTTOAVAILABILITY.TERMS&CONDITIONS
APPLY.PLEASEASKFORDETAILSONBOOKING.**SUBJECTTOAVAILABILITYANDPREFERRED
DATEOFTRAVELIN2014.BASEDONTWOPEOPLESHARINGONAB&BBASISUNLESS
OTHERWISEINDICATED.INCLUDESFLIGHTSFROMLONDONANDAIRPORTTRANSFERS
BANYAN TREE
VABBINFARU MALDIVES
Destination dining takes on a newmeaning
at Banyan Tree Vabbinfaru. Few things beat
being whisked by speedboat to a private
sandbank for an unforgettable feast for two
surrounded by the glorious beauty of the
Indian Ocean. But in a resort where each
private-pool villa occupies its own pristine
patch of white sandy beach, unforgettable
is what a stay here is all about.
Seven nights, from £3,290 a person fullboard**, based on two people sharing.
BAZAAR | PROMOTION
Aspecial occasion deserves to be
celebrated in a setting that
re ects its signi�cance; some-
where that is not just beautiful,
but also delivers the kindof once-
in-a-lifetimememories youandyour lovedones
will treasure longafter youcomehome.Located
in some of the world’s most beautiful natural
environments anddramatic cityscapes,Banyan
Tree’s resorts have built up a reputation for
lavish pampering and exotic sensuality ever
since its �rst environmentally sensitive spa
resort opened 20 years ago. Today, its bespoke
treatments, signature hospitality and dedica-
tion to �rst-class service is legendary.Whether
you’re seeking a romantic celebration à deux,or a spirited party with family and friends, a
truly inimitable experience is guaranteed.
Book your 2014 celebration at Banyan Tree withtravel specialists Carrier and you could winaMelissa Odabash kaftan worth up to £550*.Ring Carrier on 0161 826 1131, or visitwww.carrier.co.uk/banyantree.
DOUBLEPOOL VILLAS BY
BANYAN TREE PHUKET
Cocoonedwithin a tropical sanctuary, this
magni�cent resort – home to Phuket’s
largest pool villas – o�ers the ultimate in
luxurious privacy. All the better to create
an intimate celebration, whether sipping
champagne in your private pool or enjoying
an in-villa meal for two, waited on by your
round-the-clock personal butler. Bliss.
Seven nights, from £3,035 a person B&B**,based on two people sharing.
BANYAN TREE
BANGKOK THAILAND
In the heart of one of the world’s most
vibrant cities, Banyan Tree Bangkok o�ers
a dramatic backdrop for any festivity
– particularly in the case of the spectacular
views from its rooftop
Vertigo Grill restaurant
andMoon Bar. For a
more intimate feel, hire
its elegant teak rice
barge for a romantic
moonlight river cruise.
Five nights, from £1,320a person B&B** , basedon two people sharing.
BANYAN TREE
MAYAKOBA MEXICO
Romantic getaways are all well and good,
but if you’re looking to enjoy a fun, lively
celebration, Banyan Tree Mayakoba on
Mexico’s Riviera Maya is for you. Ease into
your stay with a tequila-tasting or cocktail
masterclass. The rest is up to you: relax by
the beach, continue the party
in your private pool villa or hire
the private dining room in the
resort’swine cellar for a laidback
meal with family or friends.
Seven nights, from £2,060 aperson B&B**, based on twopeople sharing.
PHOTOGRAPHS:RIC
HHARDCASTLE,OLIV
ERHOLMS,JON
FURNISS
www.harpersbazaar.co.uk174 | HAR P E R’S BA ZA AR | February 2014
When the actress Naomie Harris declared, on winning Bazaar ’s
British Actress of the Year award: ‘This means you can dare to
dream, that you can achieve anything, if you put your mind to it,’
she captured the celebration of female strength, intelligence and
passion that is at the heart of our Women of the Year Awards
(supported by Estée Lauder, Audemars Piguet and Selfridges).
A line of Mercedes-Benz cars pulled up outside Claridge’s,
where some of the world’s most extraordinary women gathered
and the Veuve Clicquot flowed. Cate Blanchett talked of ‘the
community of women who help me transform from a blobfish to
looking halfway decent’. And Victoria Beckham playfully thanked
her son Brooklyn: ‘I know it was really hard to come out on a
school night to support me – and what a handsome guest you are.’
LEADING
LADIES
FLASH!Cate Blanchett
in Givenchy
▼
Bazaar’sWomenof theYearAwardsbroughttogetheraconstellationof starsatClaridge’s
Edited by FRANCES WASEM
‘CateBlanchett surpassesherself over and over again’
Colin Firth
‘Idris Elba, youare a brilliantman’
RuthWilson
Idris Elba, winnerof Man of the Year
Naomie Harrisin Gucci
Rita Ora inErmanno Scervino
Mick Jagger
Livia Firth in Victoria Beckham, and Colin Firth in Tom Ford
Roksanda Ilincicin her own label
Frida Giannini in Gucci
Jodie Kidd in Tom Ford
Ruth Wilsonin Peter Pilotto
60 secondswith…
AERIN LAUDERYour career advice to women
starting out ‘Follow your dreams
and be passionate. If you love what
you do, you will be happy.’
Your female icon ‘I have always
admired Audrey Hepburn. Her simple,
elegant and feminine style is timeless.’
Advice to your daughter ‘Surround
yourself with people who care
about you and whom you care about.’
Define female beauty ‘Confidence,
great skin and a great smile.’
‘I’d like to thankMickfor sewing onbuttonsthenightbeforetheshow’
L’WrenScott
‘I have hadthemost
extraordinary luck’GillianAnderson
Tinie Tempahand Rita Ora
Gillian Andersonin a Nicholas
Oakwell Couturedress and Adler
jewellery, andAndrew O’Hagan
Aerin Lauder inStella McCartney,
and Justine Picardiein Prada
HughBonneville
Nicholas Kirkwoodand Tali Lennox
Sophie Dahl
Floral arrangements by WildAbout Flowers
Alek Wek in Moschino,and Jourdan Dunn ina Tom Ford dress and
Tiffany & Co jewellery
Simone Rocha, and Lara Bohinc in Roksanda Ilincic
L’Wren Scott and Tom Ford in their own labels
François-HenryBennahmias
Anya Hindmarch
PHOTOGRAPHS:RIC
HHARDCASTLE,OLIV
ERHOLMS,JON
FURNISS
February 2014 | HAR P E R’S BA ZA AR | 177www.harpersbazaar.co.uk
Victoria Beckhamplayfully thankedher sonBrooklynfor coming outonaschool night
FLASH!
Camilla Al Fayed;Natalia Vodianova andStella McCartney, bothin Stella McCartney;and Manolo Blahnik
Victoria Beckhamin her own label,
with her son Brooklyn
60 secondswith…
CAMILLARUTHERFORD
Who would you like to have been
painted by? ‘Lucian Freud – the
painting would tell a truth about me
that I should know how to live with.’
Which piece do you wish you
owned? ‘My son likes Banksy; if
I could, I would buy him a Banksy
to encourage his interest in art.’
First artwork that had
an impact on you
‘A David Hockney
painting, when I was
little. The swimming
pool looked inviting.’
CREATIVEDRIVE
LuminariesgatheredatLondon’sHalcyonGallery
tocelebrate the launchof
Edited by FRANCES WASEM
BazaarArt, incollaborationwithBentley
FLASH!
PHOTOGRAPHS:RIC
HHARDCASTLE.OLIV
ERHOLMS
www.harpersbazaar.co.uk
Yasmin Mills
Camilla Rutherford
Tallulah HarlechRachel Barrett
Mat Collishawand Polly Morgan
Julie Verhoeven andValeria Napoleone
Kelly Hoppenand guest
Viscount Linley,chairman of Christie’s
Lara Bohinc
‘Le Peintre’ (1969) by PabloPicasso, on display in the gallery
A Bentley handbag surroundedby Dale Chihuly artworks
Stefan Büscher
February 2014 | HAR P E R’S BA ZA AR | 179www.harpersbazaar.co.uk
‘PLAYFUL SPIRIT’, CONTINUED FROM PAGE 148
business, ‘what are we going to talk about?’
Despite her extensive career on Broadway (and five Tony
Awards), Blithe Spirit is only Lansbury’s third stage play in London,
where she last performed in 1975 as Gertrude in a mediocre Peter
Hall/National Theatre production of Hamlet. She reveres the West
End and is looking forward to returning ‘tremendously… I think of
it as part of my theatrical life to have the opportunity to come back
to London in a play,’ she says, adding cautiously: ‘It’s different from
New York audiences. I know that.’ As a ‘goddess on Broadway’ (as
Everettputs it), she routinelygets standingovations, but she is taking
nothing for granted with London audiences. ‘I’m sure Blithe Spirit is
done a great deal in London, isn’t it?’ she asks, gauging the appetite
for another production. When I reply that you can never get enough
of Coward, she beams. ‘I have to agree with you. I love seeing the old
shows because they are so interestingly written and presented. In
Britain,’ shegoeson, ‘youarefascinatedwiththepast.ForAmericans,
it’s about listening to new playwrights, new ideas, which I, as an
older person, am not terribly interested in. I realise I’m an old fogey.
I’m sorry, but the classics are pretty damned good.’
If Lansbury’s entrance as Madame Arcati (dressed in a flame-
red wig, tam-o’-shanter and competing layers of plaid and print
velvet) was one of the highlights of the Broadway production, the
other was the jig she performed, her warm-up to the seance, which
Coward calls ‘an abortive little dance step’. Lansbury’s version, a
series of exotic contortions worthy of Mata Hari, changed slightly
every night of the Broadway run and brought the house down each
time. ‘Oh, I didn’t know quite what I was going to do,’ she explains.
‘It depended how much energy I had that night. But I mustn’t build
this up too much because I’m a few years older,’ she says with a laugh.
‘I don’t know whether I’m quite as lithe.’
Lansbury based the dance on something she learned as a child
growing up in north London, when she attended classes, with her
half-sister Isolde and actress mother Moyna MacGill, run by the
League of Health and Beauty in Regent’s Park. ‘We would walk
around with sort of doughnuts on our heads, which would get us to
stretch our necks,’ she explains. ‘And we danced around in the way
you see on Greek friezes. We took it very seriously. When the
weather was fine, it was lovely.’ Although Lansbury left Britain for
New York as a wartime evacuee in 1941, then moved to Los Angeles,
where she landed a contract with MGM, it’s her formative years in
Britain that she recalls most vividly now. ‘I think you will find,’ she
says, ‘that as you get older, you remember your early years far more
clearly than the recent ones… You know what I’m hoping? That I’ll
hear from some of my old school-friends [from South Hampstead
High School for girls]. I wonder how many of them are still with us.
I remember the name of every single girl in my class – we all
played netball together. A terrific bunch.’ She remembers the bon-
fires her father, who died when she was nine, used to make in the
garden in Mill Hill. And her grandfather George Lansbury,
a Labour MP whose strong constitution she inherited. Returning
from political rallies, she would impersonate the women speakers,
regurgitating their speeches and assuming their mannerisms; in
short, finding her footing as a performer.
By the time she signed to MGM aged 17, she was no mere
‘gorgeous apple queen as some of the girls were, plucked out of
the damnedest places’. She had trained in London and New York
andheracting talent showed.Forher screendebut, playingadevilish
cockney maid opposite Ingrid Bergman in 1944’s Gaslight, she
won an Oscar nomination. A year later, for the role of the angelic
Sybil in The Picture of Dorian Gray, she picked up her second
nomination. A star should have been born, except that MGM
insisted on using her as a stock character actress and cast her in
matronly roles, which put paid to any hopes of stardom. ‘They
started me off with a bang, then the recognition totally fizzled out,’
she says, bullishly. ‘They didn’t know what they had.’ Her personal
life fared better: in 1949 she married the actor-turned-agent Peter
Shaw (‘ just the most gorgeous thing ever seen on two feet’ she once
saidof him)andtheyhadtwochildren,Anthony in1952andDeirdre
a year later.
Her frustration at MGM would eventually drive her to theatre,
but not before she worked with some legends, including Judy
Garland, Frank Sinatra, Katharine Hepburn, Spencer Tracy, Gene
Kelly, Deborah Kerr and Paul Newman. ‘In my true English-
schoolgirl way, I wasn’t intimidated at all. I sort of took it for
granted,’ she says. The body of work, including her performance as
the domineering mother in 1962’s The Manchurian Candidate, which
earned her a third Oscar nomination, remains impressive, although
barely seen these days. ‘It’s a shocker for fans when they trip over it,’
she says of Gaslight, in which her character relishes her nastiness. It’s
a far cry from the sympathetic roles of her later career. A few weeks
after our meeting, Lansbury was awarded an Honorary Oscar at
the Governor’s Ball in Los Angeles, which she regards as a specific
– and gratifying – nod to her early film work. ‘The general public has
no memory of my movie career; for a lot of young people it consists
of Bedknobs and Broomsticks and Beauty and the Beast. But I was
there and I performed at a very young age… Those early pictures
were exciting and thrilling. And being at MGM in those days,
believe me, you were around some incredible people.’
When stardom did come, it was onstage, playing the lead in Jerry
Herman’s musical comedy Mame in 1966. ‘I don’t think she ever
thought of herself as a leading lady,’ says Sondheim. ‘Then suddenly
she was the star with a capital S. That gave her a different view of
herself.’ Growing tired in the early 1980s of the exhaustive runs
that came with hit shows like Mame and Gypsy, she sought out a
TV series and signed to Murder She Wrote. When it ended after
seven years, President George Bush Snr sent her a handwritten
letter saying how sad he was that the only show he and his
wife Barbara watched on a Sunday night was coming to an end.
By that point she was a global star.
It was during her long stint on Murder She Wrote that Lansbury
built a large farmhouse in East Cork, Ireland, as a refuge for her and
the family. Since the death of her husband (to whom she was happily
married for 56 years) in 2003, she has holidayed there alone. ‘I have
a lot of friends there who have nothing to do with theatre or movies
or television,’ she says. ‘We just cook and hang out. I knit a lot. I love
gardening and housekeeping.’ Now she prizes her independence
(‘I never felt I had to be totally dependent on other people’); she
likes watching TV shows (Homeland and Breaking Bad are favour-
ites); she keeps up a lot of correspondence – ‘Email is fabulous!’ – and
continues to make plans to work, with a new Broadway production
of The Chalk Garden currently in the pipeline.
In a not atypical appointment, she had just attended an event
in her honour at a theatre in Pennsylvania, after which the stage
manager sent her a large box of chocolates. With our time almost
up, I ready myself to leave, and she jumps up and insists I have one,
then another. Their sweet taste stays with me well after we’ve
walked to the door and exchanged our goodbyes.
‘Blithe Spirit’ runs at the Gielgud Theatre from 1 March to 7 June
(www.blithespiritlondon.com).
www.harpersbazaar.co.uk180 | HAR P E R’S BA ZA AR | February 2014
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‘AND THE WINNER IS…’, CONTINUED FROM PAGE 140
$45 million in North America and $122 million worldwide, an
inconceivable sum without the film’s Oscar validation. The same
is true of The King’s Speech (which grossed $386 million) and Slumdog
Millionaire ($362 million), two films that hardly suggested them-
selves as global blockbusters.
It was Weinstein, of course, who was pulling the levers on
The King’s Speech and The Artist, as well as numerous other
Best Picture winners including Chicago and Shakespeare in Love.
In fact, Weinstein has pretty much redefined the game. (As well
as Philomena and August: Osage County, his contenders this
year also include Mandela: Long Walk to Freedom and The Butler.)
‘Things have changed enormously in the past 15 years,’ says the
London-based awards strategist Liz Miller, whose first campaign
was for Weinstein’s The English Patient in 1996; she has since worked
onfiveof thepast sixBestPicturewinners. ‘I thinkeverybodystarted
to copy Harvey. They all wanted to know: what is Harvey Weinstein
doing, why is he getting all of this attention? And then they figured
out that it might be a fun and profitable thing to do.
‘There’s a lot of “Got to be in it to win it” about the campaigning,’
Miller says, and that’s certainly the case if your film is one of the
underdogs. Marion Cotillard remains the poster girl for assiduous
campaigning after her efforts to persuade Academy voters to see her
tour de force as Edith Piaf in La Vie en Rose during the 2007–2008
season – a four-month charm offensive that saw her attend a
dizzying schedule of Hollywood events. Chat shows and media
appearances may be effective at selling your film to the cinema-
going public, but making personal contact with as many of the
Academy’s 5,200 voters as possible is vital for an Oscar win.
In Cotillard’s case, it was to her advantage that the early favourite
that year, Julie Christie, barely campaigned at all. In Hollywood,
voters like to reward the candidate who wants it the most, particu-
larly if – as in Cotillard’s case – the performance is deserving.
As for the strange alchemy that results in the front-runners in
each category emerging months before any nominations have been
announced, the speculation fed by publicists and the media tends to
be accurate. The blog In Contention was tipping Lupita Nyong’o in
12 Years a Slave months before anyone outside the studio had seen
the film. She is now the front-runner for Supporting Actress.
Not all the whispering is positive. This year the veracity of
films, including Captain Phillips (the captain of the hijacked Maersk
Alabama cargo ship was far from a hero, say crew members) and
Saving Mr Banks (Pamela Travers never did mellow towards Disney’s
version of Mary Poppins) has been challenged. But similar claims
failed to derail Argo’s triumphant Oscars progress a year ago; after
all, Academy members understand better than anyone why the
legend is preferable to the unvarnished truth.
Winning an election is about crafting a meaningful narrative
around your candidate. Weinstein knows this more than most. In
1999, he engaged voters with his clever ‘love versus war’ positioning
of Shakespeare in Love against Saving Private Ryan, a moment that was
pivotal in the history of Oscar campaigning.
In 2010, he sat on the sidelines when a ‘David versus Goliath’
angle helped push Kathryn Bigelow’s The Hurt Locker to victory
over her ex-husband James Cameron’s Avatar. But Weinstein
triumphed again the following year, when The King’s Speech pushed
The Social Network onto the ropes with the emotionally engaging
line: ‘Some movies make you think. This one makes you feel.’
Unerringly in tune with the film’s audience, his strategy proved a
basic premise of the successful awards campaign: in Hollywood
it is heart rather than head that invariably wins the day.
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www.harpersbazaar.co.uk186 | HAR P E R’S BA ZA AR | February 2014
INSPIRATION
COVERPHOTOGRAPHBYRIC
HARD
AVEDON
©THERIC
HARD
AVEDON
FOUNDATIO
N
Steve McQueenphotographed by
Richard Avedon forBazaar’s February
1965 cover
February 1965 was a red-letter month in
publishing: thefirst timeamanappeared
on the cover of Harper’s Bazaar – or any
women’s fashion magazine, for that
matter. The person responsible was Ruth Ansel, one of the few
female art directors of her day. Ansel had joined the magazine in
1961, working under the ‘Holy Trinity’ of fashion editor Diana
Vreeland, art director Marvin Israel and the legendary photogra-
pher Richard Avedon. By 1965, only Avedon remained and Ansel,
promoted to joint art director with Bea Feitler, was bringing a fresh,
youthful spirit to the magazine. (She would go on to be the first
female art director of The New York Times Magazine and define
the look of a revamped Vanity Fair in the 1980s.) If the purpose
of the cover was primarily to capture the attention, and hearts, of the
HOWBAZAAR
readers, the use of Steve McQueen, the
ultimate (if not sexiest) leading man
of the 1960s, achieved that and more.
Here was a notorious tough guy,
known for The Great Escape and about to appear in The Cincinnati
Kid, wearing a tuxedo in a high-fashion bible. ‘The editor [Nancy
White] was often dissatisfied with certain elements that we always
seemed to ignore, for instance, that we didn’t show enough men
in the magazine,’ Ansel said. ‘That’s how we decided on Steve
McQueen. If we had used Cary Grant, it would’ve been less of a
surprise.’ The story was shot by Avedon, with his customary
panache, and also starred the British model Jean Shrimpton, whose
bracelet-stacked arm snakes around McQueen on the cover in a
masterful finishing touch.
Iconicmoments fromourarchivesrevisited.Thismonth:SteveMcQueenbyRichardAvedon
By AJESH PATALAY
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