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Make the Most Out of Daylight Savings Time: The Best Overnight Skincare Treatments

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Photographed by Irving Penn, Vogue, October 2005

There’s no shortage of factors that threaten to steal away sleep—but when the clocks change over this Sunday at 2:00 a.m., courtesy of Daylight Savings Time, we’ll all gain one more precious hour of it. Upping the odds of a rested glow the next morning? The latest wave of multitasking overnight skincare treatments, which promise to make the most of those extra sixty minutes by capitalizing on the body’s natural regenerative processes.

“When you sleep, your parasympathetic nervous system works to balance, repair, and recharge the skin,” says New York City dermatologist Ellen Marmur, who also links inadequate rest (less than seven hours a night) to a decrease in collagen repair, dryness, blemishes, and the inflammation that leads to wrinkles.

Among the best of the new moisture-rich masks, resurfacing creams, and soothing eye concentrates that deliver the potent rejuvenating effects of a good facial: Darphin’s new Ideal Resource Light Re-Birth Overnight Cream stimulates cell renewal with soothing neroli oil and white hibiscus extract; Omorovicza’s Gold Night Drops, inspired by centuries-old Hungarian beauty rituals, help restore sun-damaged skin with vitamin A and calm inflammation with colloidal gold particles. For gentle exfoliation, consider Kate Somerville’s Overnight Discoloration Perfector, spiked with salicylic acid and vitamin C, to increase cell turnover. As for dark post-party circles, Kiehl’s Midnight Recovery Eye with butcher’s-broom extract helps minimize swelling, fortifies with evening primrose oil, and smells (yes) positively dreamy.

See Sleep Style: Enjoy Daylight Savings Time with These Nine Pajamas

The post Make the Most Out of Daylight Savings Time: The Best Overnight Skincare Treatments appeared first on Vogue.


Miranda Kerr Brings Her Beauty Line Stateside

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Miranda Kerr Beauty Line

Narita airport, Tokyo: Wes Gordon dress, Bionda Castana shoes. LAX, Los Angeles: Helmut Lang pants, Isabel Marant wedges. On the street, New York: Alexander Wang sweater, Balenciaga biker jacket. All the world’s a runway for Australian model and street-style star Miranda Kerr, whose every fashionable step is chronicled by the legions of photographers who follow her. Her latest move is sure to occasion its own fanfare: the U.S. launch of her skin-care line, Kora Organics.

It’s been a long time coming—four years—for fans of the collection, who have been placing orders and patiently awaiting delivery from Australia.

The intersection of wellness and beauty is second nature to Kerr. “I grew up in a little country town with my grandparents on a farm. That’s where I learned about eating organic, and the benefits you get firsthand,” she says. Take noni, the knobby tropical fruit prized for its antioxidant-rich juice, which Kerr has made a key ingredient in all Kora products. “I’ve been drinking it since I was twelve,” she says. “I’d put it on my skin if I had a sunburn or a breakout. My grandmother introduced me to it. She taught me how to cook, the importance of balance. I try to live my life the 80–20 way: 80 percent healthy choices.”

This easygoing modern bohemianism radiates throughout the family’s Upper East Side home, an airy duplex in a landmark nineteenth-century building off Central Park. In the living room, an ornate carved-wood daybed conjures up a voyage to Southeast Asia; a Louis XV–style gilt mirror shares wall space with a framed fingerpainting by Flynn. (Today her son is at the theater, watching his father rehearse for Broadway’s Romeo and Juliet.) Overhead, the original wood-beam ceiling, painted with scrolling vines and cherubs, lends time-worn grandeur. “I want it to feel like you’re not necessarily in New York City,” says Kerr.

Miranda Kerr Beauty Line
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Photographed by Jason Schmidt, Vogue, November 2013

Even as her modeling career skyrocketed (she will soon appear in the 2014 Pirelli calendar alongside Helena Christensen and Karolina Kurkova), Kerr has stayed grounded. She practices yoga regularly; the fridge is stocked daily with deliveries from Juice Press. A certified health coach who studied nutrition, Kerr spends time experimenting with gluten- and sugar-free recipes in the kitchen, too. On a recent day: muffins with chia seeds, oatmeal, and cinnamon. “I wanted a healthy alternative for my son,” she says simply.

Kerr took a similar do-it-yourself tack with her skin care: After struggling to find certified-organic products that balanced high performance with high integrity, she made them herself. She obsessed over the matte texture of the recyclable packaging, “and I was adamant about the color,” she says of the tranquil blue. She even created a font based on her handwriting, which appears as a single-word mantra on the back of each product: “Gratitude” on the foaming cleanser, “Honesty” on the exfoliating cream.  

“I feel like my products are really nurturing and produce results, and that was my intention,” she says. And, she adds, “they’re not tested on animals, they’re tested on me!” She keeps a tube of her eye cream in the fridge and swears that the body lotion has “really made a difference to my skin. My legs used to be kind of scaly.” To treat her combination skin, she likes to paint a stripe of the clay-based purifying mask down her T-zone and pat the hydrating mask on the sides of her face. She used the products throughout her pregnancy and singles out the rose hip body oil for special praise: “I had a ten-pound boy, and I don’t have one stretch mark. I can show you my stomach if you like,” she says without missing a beat. The accompanying mantra for that product: “Confidence.”

See the slideshow below for products from Kora Organics.

The post Miranda Kerr Brings Her Beauty Line Stateside appeared first on Vogue.

Beauty Moment: Carrie Underwood on Smoky Eyes, Guilty Vegan Pleasures, and the Secret to Big Southern Hair

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Carrie Underwood

Temperatures in Nashville plunged into the single digits last week, but you can count on Carrie Underwood—the fresh-faced, Grammy-winning country music star—to warm up a room, even one as soaring as the Grand Ole Opry concert hall, where she recently led a backstage tour after sitting down for an interview with Vogue. The Oklahoma native made her Opry debut back in 2005, weeks after winning American Idol’s fourth season. Four chart-topping albums later, her portrait now hangs inside the Music City institution alongside the likes of Patsy Cline and Dolly Parton, and Underwood is proud to call the Tennessee capital home.

With her cornsilk blonde waves and small-town good manners, the singer, dressed in a black plunging-waist jumpsuit and flashing a metallic statement necklace, is the picture of Southern charm. She’s also the new face of Almay—a fitting role for a heavyweight stage presence who does her own hair and makeup on tour. Here, Underwood reveals her skill with a curling iron, her cold-weather beauty secrets, and her love for all things shiny (eye shadow and nail polish included).

We hear you’re a one-woman show when it comes to getting stage-ready on tour. How did that happen?
I love having my hair and makeup done for red carpets, but to have that done every day would be exhausting. It’s hard to have a bunch of hands on me when I’m about to walk on stage. It’s such a nice time [getting ready] on my bus. I can watch TV or play some music with my dogs running around. It’s something I enjoy. I’m kind of a makeup junkie.

Most women tend to be either an eye person or a lip person. Which are you?
When I’m onstage, I wear a lot more eyeliner and mascara and I put on [false] lashes. I love eye shadows that are shimmery and playing with colors. There’s just more you can do with your eyes.

Plus, as a singer, you’re holding a microphone.
Right! I get in so much trouble because I hold my mic directly in front of my mouth.

Tell me about your hair:  Who cuts and colors it?
Melissa Schleicher [at Brentwood’s Parlour 3 salon]. But when I don’t have to color my hair, I don’t. I actually haven’t colored it for about six months. Over the winter, I’m off tour so I can relax.

Something tells me you’re a whiz with a curling iron.
I am—I’m pretty good with a curling iron. I’m really lucky in the sense that my hair holds curl awesomely well. It looks the same at 10 p.m. as it does at 10 a.m. One of my favorite products is Oribe Dry Texturizing Spray. I can get a lot of volume with it. I’m from the South—I like big hair.  

Being onstage requires stamina. How do you stay in shape—and how do you get those killer legs?
Thank you! I make an effort for sure—not just for stamina, because I am pretty active onstage, but it also keeps me healthy. I eat things I shouldn’t eat all the time. I have to work out so I can enjoy myself! I like to run, and I’ll do body weight stuff: push-ups, squats, lunges, pull-ups. I have a trainer [Erin Oprea] who I work with a couple of times a week. It makes my workouts on my own better because I understand proper form.

Your husband [hockey player Mike Fisher] is a pro athlete—do you work out together at all?
We have, which is really funny, because my friends who knew Mike in high school tell me that he never worked out with any of his girlfriends before me. They were like, “Oh, you work out with him? Wow, this is serious.”

Speaking of health, you’re a vegan living in Nashville, a city known for its comfort food. Any insider vegan foodie destinations?
Vegan cupcakes [from IveyCake], for sure. Nashville’s gotten so much better as far as its vegetarian/vegan options. There’s a place called Rolf and Daughters here in town that makes their own pasta. Everybody loves bready things once in a while.  

The city is frigid right now! What products are getting you through this arctic weather?
[Almay’s] CC Cream is good because it’s so moisturizing. I’ll also get either coconut oil or vitamin E oil and put it on my elbows, knees, and the places that tend to get superdry, the second I get out of the shower.

Your collection of nail polishes for Nicole by OPI just launched this month. Where do you go for manicures?
I usually don’t have time to go anywhere. I wish I did. I feel like a new woman when I walk out of the spa. Generally, I have ten minutes and I’m doing it myself. My last manicure had sparkles—I love sparkles. When I was on Idol, the stylist said, “You’re a little magpie. You just go to anything shiny.”

The post Beauty Moment: Carrie Underwood on Smoky Eyes, Guilty Vegan Pleasures, and the Secret to Big Southern Hair appeared first on Vogue.

Talking Pale Violet Hair Color with St. Vincent’s Annie Clark Backstage at DVF

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Annie Clark St. Vincent at DVF

Backstage at Diane von Furstenberg, there was no shortage of enviable hair color: Karen Elsons deep vermilion, Julia Nobis’s shock of icy platinum, Fei Fei Sun’s glossy black. But it was Annie Clark, the singer who records under the name St. Vincent, who turned heads with her crop of pale, violet-tinged platinum hair. “I just got the color done,” she explained, leaning back into the makeup chair, a MAC artist dabbing foundation under her eyes. “The woman I work with in L.A., Pamela Neal [of the salon BENJAMIN with NEGIN ZAND], is wonderful. She’s very patient with me because I don’t take very good care of my hair!”

It’s been a year since the musician took her signature cocoa curls platinum (in homage, she told Vogue, to David Bowie circa 1974). These days, she’s experimenting with washed-out pastel blue and purple tints. Between trips to the salon, Clark has been using “a blue Davines conditioner to keep my violet overtones going, and there’s a Davines mask that I leave in overnight, which helps keep my hair from breaking.” As she put it, shortly before taking the stage to perform “Prince Johnny” and other songs from her new self-titled album (on sale February 25), “it’s a hair journey, a color story.”  

Following a Friday night sighting of Kate Foley’s rose-colored ombré streaks at the Suno after-party, we sense the rumblings of a reawakened Fashion Week trend in the making.

See the Diane von Furstenberg fall 2014 collection.

Take a look back at “Staging the Look: Shopping the 3.1 Phillip Lim Showroom with St. Vincent.”

The post Talking Pale Violet Hair Color with St. Vincent’s Annie Clark Backstage at DVF appeared first on Vogue.

Backstage Moment: Model Carolyn Murphy On Her Favorite Sunny Escapes

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Photographed by Kevin Tachman

Black ice covered the cobblestoned streets outside Michael Kors this morning, but backstage, Carolyn Murphy’s sun-streaked blonde hair and flushed cheeks (courtesy of makeup artist Dick Page) foretold warmer days ahead. Vogue caught up with the veteran model moments before she opened the show.

It’s so frigid outside. Are you fantasizing about a winter escape?
Well, I’ve been daydreaming about the knits from The Row, which I Instagrammed yesterday. The first two that came out look like Snuggies. I would love to go to Harbour Island right now, in the Bahamas. There’s a great little place, the Pink Sands hotel. Superchic, with warm ocean water that’s almost hot.

For vacation, do you head for the beach, or are you a city person?
No, I love a great escape—I need it, especially living in New York City. If you don’t get out, it can drive you mad. I’ve always been partial to Central and South America. I spent a lot of time in Costa Rica in the ’90s, which was really great.

What spots are on your wish list now?
I would love to go to Patagonia or Mongolia. I want more of an adventure now, as opposed to the chaise and the tanning lotion. It’s more rustic.

Plans for the long weekend?
For a quick weekend like this one—my daughter has a few days off—places like the Bahamas are easy, but we’re not going there for some reason! We’re going up to Vermont to ski.

Maybe The Row can lend you some knitwear.
I know! I would love that. I actually don’t ski, but I can make a really mean roasted chicken. That’s what I’ll be doing, cooking!

See: Michael Kors Fall 2014 Collection

Watch Swept Away: Carolyn Murphy and Matthias Schoenaerts

The post Backstage Moment: Model Carolyn Murphy On Her Favorite Sunny Escapes appeared first on Vogue.

Talking with Justin Timberlake’s Longtime Choreographer Marty Kudelka

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Justin Timberlake Performing at iHeartRadio Music Festival

If anyone deserves to be called a “born entertainer,” it’s Justin Timberlake. What hasn’t he done? From his early days singing and dancing with The Mickey Mouse Club and ’NSYNC, to hosting SNL five times, to his Grammy-winning solo career and big-screen roles—he’s worked with everyone from Jay Z to the Coen brothers—the guy’s a natural. Plus, he can move. “I’ve told him that if his voice ever got taken away, he could be a professional dancer for sure,” his longtime choreographer, Marty Kudelka, said yesterday from Las Vegas, where he was fine-tuning the Jacksons’ new Planet Hollywood show (which debuts today).

A Texas native, Kudelka credits his big break to a surprise phone call from another Jackson—Janet—less than a year after landing in L.A. to pursue choreography; he cut his teeth on her 2001 video “Doesn’t Really Matter,” and went on to work with P!nk, Mariah Carey, and Jennifer Lopez,  among others. But his most fruitful collaboration, spanning a dozen years and counting, has been with Timberlake. Along with awards show performances and six world tours, Kudelka is the man behind the grooves in “Rock Your Body” (2003) and last year’s David Fincher–directed “Suit & Tie.”

This week, Timberlake brings his 20/20 Experience World Tour (codirected with Kudelka, among others) to New York with a two-night run at Madison Square Garden, while also heading to 30 Rock on Friday as a guest on Jimmy Fallons new Tonight Show. (Last night’s MSG performance was postponed due to health reasons; we’re rooting for Timberlake tonight and tomorrow.) We spoke to the choreographer about working with an acclaimed film director, why he first got into dance, and Timberlake’s jaw-dropping skills.

I hear you’re in Vegas for the latest Jacksons show. How is it going?
This is my second time working with them, which is still surreal and amazing. I feel like, with their catalog of music, they could literally just come out, sit on the stage, and sing for two hours and everyone would be excited. They have all these routines that they’ve done for 50 years that people want to see, so we just had to make minor changes. They let us do our thing on some of the songs that didn’t have old-school choreography.

What first triggered your interest in dance?
In ’84, the movie Breakin’ came out. That’s what interested me at first, people spinning on their heads. I would start trying to do it, and my mom would say no—so of course, I wanted to do it more.

You’ve been working with Timberlake for quite a while. How did you meet?
I was still on and off with Janet, and I got a phone call in my hotel room one day. I thought it was just one of the dancers messing with me. They’re like, “Hey, this is ’NSYNC’s tour manager, and Justin wants to get on the phone with you,” and I hung up! Our world is so small, he got in touch with somebody from our camp. I did a video for [’NSYNC], and the first tour that I codirected ended up being their last. About a month later, Justin called and said, “Hey, man, I think I’m going to do a solo record, and I want you to be a part of it.” He hadn’t recorded one single song yet, and I was in.

What’s it like in the studio with him?
He is—and I mean this—one of the most talented people I’ve ever met. He’s really a perfectionist. He makes everyone better, from the band to the dancers to the choreography. We all have to step our game up.

How did you approach the choreography for “Suit & Tie”?
It starts with the music. It’s very Rat Pack–ish. But, you know, I’m not going to have them break-dance with Tom Ford suits on; it doesn’t match musically or style-wise. It’s very nonchalant, almost new-school jazzy.

What was it like to work with David Fincher?
It’s unbelievable that we got to work with him on a music video—that doesn’t happen! The one thing I loved is that he has [everything] in his head already—there’s no shot list, there’s no storyboard. But when you see it all come together, it makes sense why he is who he is.

Did you have a role in the Tonight Show performance for Friday?
[Justin] will probably only do two songs that he can just get up with his band and do—not a lot of heavy choreography. He could freestyle around, too, if need be. Those two guys, get them in a room together and they’re the funniest people on earth.

The post Talking with Justin Timberlake’s Longtime Choreographer Marty Kudelka appeared first on Vogue.

L.A. Dance Project’s Charles Fabius on the California State of Mind

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Photo: Anne Menke

Yesterday, today, tomorrow—these are red-letter days for French choreographer Benjamin Millepied. L.A. Dance Project, the ambitious collective he helped cofound in 2012, is in the midst of its three-day run at Los Angeles’s glamorous new performance venue: the Theatre at Ace Hotel, which has sprung up inside the historic United Artists cinema house. The highlight of the triple bill is the U.S. premiere of his Reflections, with sets by artist Barbara Kruger (red letters, indeed) and a score by David Lang (performed live by pianist Gloria Cheng).

It’s fitting that these two have partnered up for a spring and fall run. That leaves plenty of time for the company’s far-flung touring schedule, which includes stops in France and Russia this year, as well as future site-specific projects. (Recent ones have included performances in the Museum of Contemporary Art’s galleries, backed by Mark Bradford canvases, and an operatic work set amid the commuter bustle of Union Station.)

As for Millepied, he has grand plans of his own: In November, he will take over as director of the Paris Opera Ballet. Not that he’ll distance himself, figuratively speaking, from the L.A. group. After all, the momentum is building, and there is much work to be done. On the eve of the Ace debut, we spoke with Charles Fabius, another of L.A. Dance Project’s cofounders, on the city’s blossoming arts scene, a rising new choreographer, and the power of a California rental.

Take me back to the beginning of L.A. Dance Project. What was the motivation behind creating the collective?
I met Benjamin Millepied briefly before he moved out to L.A. He told me that he wanted to start a dance company, and then we started chatting about what a dance company means these days, and if it’s even possible. I said, “Well, why don’t we start with a different concept and, with a few curators, put together dance-related projects, like theater performances or film or video? And for every project we find, the dancers that will actually be able to do it.”

What is it about Los Angeles that was so appealing?
There are so many artists in L.A., and people are interested in collaboration. They have time—there’s not so much pressure as there is in New York. And [L.A.] has all these different roots, into the visual arts and into the movie industry, into fashion. Our first project was with Rodarte. After the opening at the Music Center [in 2012], we [worked] with Alejandro Iñárritu, who shot a beautiful video of the dancers. We immediately wanted to show that this is not your regular dance company.

How did the residency with the Theatre at Ace Hotel come about?
Benjamin and I were drawn to downtown L.A. just because of the vibe of the renaissance of this whole neighborhood. Walking through the streets every day, we were always saying, “If ever one of those gorgeous Old Hollywood theaters became [available], we could perform there.” And then we found out that Ace was opening a hotel and renovating one of the most beautiful theaters, the 1927 United Artists, so we approached them. Alex Calderwood, the [Ace] founder who sadly passed away in the fall, was in London in October when we premiered at Sadler’s Wells, so he came to the performance. It was a very meaningful collaboration.

How does the theater suit the company in terms of scale and design?
Benjamin was really excited. He said this is the best theater for dance in L.A., by far, because it’s so beautiful. All the seats basically have full view of the stage, and it’s quite big—1,600 seats. For this particular program, we had to build over the orchestra pit because the Barbara Kruger set is large; [it] was designed for a large opera house, the Théâtre du Châtelet. We had to make sure it fit! It looks very dramatic and grand.

Did Kruger cite any inspiration for the text on the set?
It’s funny, she doesn’t want to talk about it. But I have a theory. She sat through the rehearsals, and whenever we asked her [if] she had an idea on what she would be doing, she said, “No, I have to think about it.” It was really about taking in all that dance and all those sort of languid, romantic movements in Benjamin’s piece. “Stay” and “Go”—she basically captured the movement of dance in two words. It’s the longing, it’s the dancing together, and then one goes off in the wings and then someone else comes. And her other text is very, very beautiful: “Think of Me, Thinking of You.”

Her text seems to echo the company’s state of transition, with Millepied on the verge of leaving for Paris, and all the trans-Atlantic travel that will follow.
Yeah [laughs], which is very much a part of Benjamin as an artist. He thrives on multitasking and doing many projects at the same time. We’re very fortunate that it was never, ever a question for him to drop L.A. Dance Project for the Paris Opera Ballet. This really is his pet project. And the two are so different: This is more like a playground to develop new ideas, and, of course, Paris has the rigor of a large company with 150 dancers. I think, for Benjamin, it’s a nice balance to have both. And we’re honored, because for us to be in the same breath as the Paris Opera Ballet—that’s not a bad thing.

What’s the process like with outside choreographers?
We bring the choreographers to L.A. and then we work with them here. In April, we’re back working on a new work with Roy Assaf. He’s a young Israeli choreographer. Then we’re back here again in the summer, rehearsing with Benjamin for his new choreography, the second part of the collaboration with Van Cleef & Arpels; Reflections was the first.

I imagine the experience of working in L.A. informs the pieces?
We did a work with Emanuel Gat—that will probably be in our next program; we premiered it in Paris—and [his choreography is usually] tortured and strong and very dark. He’d never been to L.A., so he brought his entire family here, rented a house, and stayed five weeks in the Californian sun in August. He created a piece that has some sort of different light to it. He would never have done a work like that in France or in Germany or anywhere. It’s all very interesting to see how the result [changes  when] someone discovers L.A. and lives in L.A.—that the city becomes part of the work, in a way.

The post L.A. Dance Project’s Charles Fabius on the California State of Mind appeared first on Vogue.

Santigold’s New Limited Edition Makeup Collaboration for Smashbox

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Santigold

Since breaking onto the scene with her debut album six years ago, the electropop diva Santigold—known offstage as Santi White—has continued to blend genres according to her eclectic, game-for-anything style: She worked with the Yeah Yeah Yeahs’s Karen O, designer Alexander Wang, and artist Kehinde Wiley, among others, for her sophomore album, Master of My Make-Believe (2012) and tested her acting chops on television’s The Office and Adult Swim.

Next up, Santigold is set to launch her first-ever makeup collaboration, an eleven-piece limited-edition collection with Smashbox Cosmetics (on sale April 1) that’s as rich in color as it is in storytelling. She started developing the line in 2012—when the world’s end was supposedly foretold—and envisioned a post-apocalyptic rebirth as a theme. “We came up with this idea of the Santigolden Age,” says the singer, who translated ancient symbols into seeing-eye nail designs, a gilded pyramid ring that conceals a pot of lipstick, and two eye-shadow compacts featuring her own serpentine artwork on the covers. “I literally handmade a collage, and they let me!”

The makeup collaboration isn’t the only thing Santigold is looking forward to this spring: Her first child, a boy, is due in late March; an EP will follow later this year. We sat down with the musician to talk about her onstage makeup essentials, her pregnancy fitness routine, and the high-impact, low-maintenance appeal of glitter nails.

Was a makeup collaboration on your wishlist before Smashbox came calling?
It’s interesting because [when] they approached me, I had been sort of griping about certain things in the makeup I wanted. Like eyeliners that don’t come off in a second! Because I sweat—I work it out up there! I like makeup that pops, that doesn’t look like one thing in the stick and then you put it on and it’s the mild version. As a brown-skinned person, there is so much makeup that does not work for me. This collection looks good on all different skin colors, and that was something that was important in designing it. I love playing with color, making art and packaging, so it was right up my alley.

What’s your go-to look onstage?
I usually wear colored eyeliner. I was using wet [liner] because it looks really vibrant, but these pencils that I made—you put it on and it looks like a wet eye and it actually stays.

I take it you don’t typically work with a makeup artist for shows. Are you an experimenter?
I am! I come up with my costumes, I do my choreography with my dancers, and makeup looks—everything. That’s fun, to me. I don’t really think of myself as just a musician; that’s just one avenue for creativity. I was going to be an art major [in college], but that’s where I started getting into the music business. But then, through music, I found so many other ways to incorporate my art—from costume design, to directing videos, to doing the makeup, to choosing fabrics.

What inspired the wide range of colors in the collection?
The gold and the blue: It’s old Egyptian eyes, Elizabeth Taylor’s Egyptian eyes. I challenged the definition of wearability. I tried to make the eye shadows really wearable across the board, and then do something bold and fun with the eyeliners. They told me, “You can only have two eyeliners.” And I was like, “Well, they better be double-ended!” Because you can’t really tell a story with two.

How has pregnancy shaped your beauty and fitness routine?
I’ve always been a pretty natural person. I use Eminence Organic because it’s really yummy smelling, and I’ve been using shea butter and organic coconut [oil]. I haven’t had that much of a hard time, body-wise. I was really sick during the first trimester, but then in my second trimester I was going to a trainer twice a week, yoga once a week. I’ve started going to Qigong again, which is wonderful. And I eat really well. I was a half hour late today because I was like, “We have to make a fresh juice and an açai bowl before we leave!” [laughs]

I see you’re wearing your glittery nail stickers. Are you a nail-art junkie?
I love nail art, but it’s just so high-maintenance. To be honest, I don’t get a manicure very often, but if I ever have something to do I’ll always have at least something on my nails. Glitter is so quick and easy, and I like the way the light plays on it. It’s more like a crafts project.

The post Santigold’s New Limited Edition Makeup Collaboration for Smashbox appeared first on Vogue.


Amy Adams on Her Beauty Essentials, Lacoste Perfume, and That American Hustle Hair

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Photo: Anthony Harvey/Getty Images

There’s something undeniably magnetic about Amy Adams. Since her breakout role in 2005’s Junebug, the five-time Oscar nominee has proven to be an on-screen chameleon, taking on such disparate roles as a plain-faced nun (Doubt), a tiara-topped princess (Enchanted), and, of course, a disco-era swindler dripping with glamour (American Hustle).

Not surprisingly, Adams will soon be extending her range even further. She plays the artist Margaret Keane opposite Christoph Waltz in Tim Burton’s Big Eyes, which is set for release later this year, and she is gearing up to reprise her Lois Lane in the upcoming Man of Steel sequel. On the heels of a marathon awards season, wrapping up with the Oscars on Sunday, Vogue caught up with the actress in Los Angeles, where she’d finally had a chance to unwind: “I’ve been able to be with my daughter [three-and-a-half year-old Aviana] and get a couple good nights’ sleep!”

You’ve been a fixture on the red carpet this year. Are there certain things you do to stay camera-ready, whether a ramped-up exercise regime, regular visits to a facialist, or just singing in the shower to stay sane?
Well, I do sing in the shower, so you’ve outed me! Definitely exercise—that probably is the most important thing that I do for myself year-round. It keeps me grounded if I’m feeling overwhelmed.

You trained as a ballet dancer growing up. How has that shaped your approach to exercise, posture?
I wish I still had my dancer’s posture—I have to remind myself! I have actually been strength training, using light weights. I work out once a week just to maintain my muscle mass; that’s important as the years go by, as a woman. But I really like running. I try to walk or run a mile a day, if I can.

What was the inspiration behind your Oscars look on Sunday?
I tried the dress [a deep blue Gucci Premiere] on, and the tailoring was so impeccable that I fell in love with it. I love glamour—but I love simplicity. It had this fifties silhouette, yet a very modern sensibility.

Who did your hair and makeup?
For hair, I worked with Renato [Campora], and makeup with Stephen Sollitto. To some degree, I have input, but at the end of the day I leave it to the artist to [do] what they feel. I work with Steve on a regular basis.

As the face of Eau de Lacoste perfume, you’ve had a close look at the world of fragrance. Were you the sort of kid who played dress-up with your mother’s perfume?
I definitely tried to get into my mom’s beauty products. I was one of seven children, so she had to guard anything that was hers! She used Maxim’s, I remember that; she still has it.

Do you vary your perfumes depending on mood and time of day?
Sometimes. I do like to put on more of a warm fragrance for special occasions or for nighttime. I started working a couple of years ago with Eau de Lacoste, and I just love the flexibility of it, that it feels clean. It doesn’t have the presumption that it’s going to leave a trail, which is always important to me—to be subtle.

Does a scent need to match your personality?
For me, it has to sort of coordinate. There are fragrances that I love that I can never identify with. I’ve definitely made that mistake and then have been like, Who am I trying to be? [A perfume] can definitely alter your personality. I know when I’m working on a role sometimes I’ll associate a fragrance with a character.

Did you do that with American Hustle?
I was wearing Jovan Musk—no, I’m kidding! I didn’t, actually, for American Hustle because there was so much going on with everything else. I probably just ended up smelling like self-tanner all the time, to be quite honest.

I’m guessing that’s one of the rare times you’ve been tan?
Yes. It’s one of those things that I would love to maintain, but it is a full-time job and it is very messy. People who do it all the time must just burn through sheets!

Tell me about your beauty essentials.
I’ve become quite a La Mer devotee. I’ve tried other things, and I just keep coming back to it because it seems to repair the dryness in my skin. I really love a tinted moisturizer. I’ve used a couple different [ones]—Jouer and Laura Mercier and Kiehl’s. I like to play with makeup. I feel like after I use it for a while, I want to try something new. Except you go back to your classics, like BADgal lash mascara by Benefit. It just works on me.

Any lip products?
I like the [Smith's] rosebud balm, in a tin. I’ve got my daughter hooked on it now.

You’ve become known for your plunging necklines, between American Hustle and a few red-carpet dresses, like the two-tone Valentino at the Golden Globes. Has that always been part of your comfort zone?
I’ve [worn them] before. It’s funny because I became very self-conscious about it and was like, maybe I should stay away from it! It’s just that I had done it in American Hustle; I think people needed a break from my bosom. [laughs]

What is your natural hair color?
It’s kind of a strawberry blonde, but like most blondes, the blonde has gone kind of ashy, so I assist it with the red.

Have directors been particular about the shade?
Yeah, David [O. Russell, of American Hustle] saw her being this darker red. He thought it was really powerful, like she just was on fire. He said, “I want it to feel like a cape,” so I grew it out for quite some time.

Everyone’s been so mesmerized by the hair in that film. Did you feel like you spent half your time on set in [hair department head] Katherine Gordon’s chair?
You know, I tried not to complain because Christian [Bale] had to walk around with that comb-over for three months, and Bradley [Cooper] spent three hours in curlers, so I really did not have it that bad! It sort of went along with her character, and it was really fun to get to play with that.

The post Amy Adams on Her Beauty Essentials, Lacoste Perfume, and That American Hustle Hair appeared first on Vogue.

Perfumer Camille Goutal on Her Mother Annick’s Legacy, Her First Stateside Boutique, and Fragrance “Infidelity”

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Annick Goutal Perfume Boutique in Soho

Inside the new Annick Goutal boutique in Manhattan’s West Village, a framed black-and-white portrait of the founder sets a glamorous tone. Appropriately so: The raven-haired beauty got her start as a model (scouted by David Bailey) before setting her sights, and her nose, on perfumery more than three decades ago. At the back of the shop, past the shelves displaying the signature flacons (shapely, feminine vessels tied with ribbon), past the richly grained mélèze wood paneling, her daughter Camille gives off her own air of unstudied elegance, in a two-tone blazer and distressed jeans.

As a young girl, Camille spent afternoons dutifully affixing labels onto bags at her mother’s first boutique, on rue de Bellechasse in Paris. “I remember a lot of French actresses and singers coming there. I was always like, Wow, wow!” she recalls. In 1999, when Annick died of cancer at age 53, Camille returned to the fragrance house, joining forces with her mother’s longtime collaborator, Isabelle Doyen, and carrying on the work of distilling memory into scent. Vogue sat down with both women to talk about upcoming projects, their 1,500-note perfume laboratory (“It’s an organized mess!” jokes Camille), and the budding young noses in their households.

This is the company’s first U.S. boutique. Why here, why now?
CG: We’ve wanted to be here for so many years. It was one of my mother’s dreams. We are trying to modernize the image of the brand, but of course we want to keep the spirit of my mother. She was funny, she was crazy—but people don’t really realize that. They think she was very classique. This location is the best because it has a Parisian atmosphere, with the small buildings and very trendy shops.

Even for non-perfumers, fragrance is so tied to memory. What are your earliest scent memories?
CG: You know, when you’re young you don’t realize that your parents do special work. I thought everyone had the same kind of life. For my mother, everything was interesting, so she would make me smell everything. The newspaper, she would smell it. Or when we were going to the countryside, she would cut the leaves and crush them in her hands and make me smell them—cypress, lavender.

Tell me about your namesake perfume, Eau de Camille.
CG: Charlotte, my stepsister, is four years older than I am, so [my mother] first created a fragrance for her when Charlotte was thirteen. I was a bit jealous, so I was like, “Can I have my fragrance as well?” She said, “Yes, of course, I thought you were not interested in having one. What kind of scent would you like?” We had a small terrace with a lot of ivy and honeysuckle, so I just said, “I want something that smells like our garden.” A few months later, she had this incredible scent made for me.

She had such a strong point of view in terms of beauty. How did that inform her work?
CG: She wanted everything to be perfect. I remember, when she was choosing paint for our apartment, she would redo it and redo it until it was the right color. It was the same when she was doing the formulas with Isabelle. She always had a strong vision of what she wanted to do, or where she wanted to go. It ran in the family. Bonpoint was created by my mother’s sister. You can feel it in the collection: all the varieties of colors, the quality of the fabrics. It’s the same kind of research.

Isabelle, when did you start working with Annick?
ID: In 1985. She was setting up her Castiglione shop at that time and needed a place to continue to work. When she came to my studio, I saw that beautiful woman—wow. She said, “I want to create a vetiver [fragrance]. Would you like to help me do it?” Of course! Then she said, “I have an idea for a perfume that I’ve wanted to create for such a long time, which is a rose that smells like pear.” I looked at her and said, “Since my childhood I’ve wanted to make that perfume.” It took us ten years to create that rose-pear smell, Ce Soir ou Jamais.

Of all the fragrances, which ones really resonate with you?
CG: Ce Soir ou Jamais is, for both of us, the most touching one because when [my mother] was at the hospital for the last six months, she was still working on it with Isabelle. Isabelle would visit her every day, and they would smell the fragrance. It’s incredible: Six months after her death, her scarf still smelled like it. It was very comforting and reassuring—in a way she was still there.

Songes is another one; it means “daydream.” I lost my mother in ’99, and in 2000 I went to Mauritius island with my boyfriend because I really needed to escape. Every evening at sunset on the beach there was a crazy scent. I couldn’t see where it was coming from, so I went to the reception and asked about it, and behind the hotel there was a massive frangipani tree. [Isabelle] lived in Tahiti when [she] was young, so she knew exactly the smell.

Un Matin d’Orage, the eau de parfum launching next month, was previously released as an eau de toilette. Has the formula changed?
CG: A little bit, not that much. The first formula was inspired by the rainy season in Tokyo. I often visit between April and June when it’s always raining and there are gardenias everywhere. Isabelle worked on the formula—you can almost smell the rain. For the eau de parfum version, it’s the same idea, but it’s more electric; a storm at night [rather] than a storm in the morning.

Camille, what’s your approach to fragrance: Do you change them or are you loyal to one?
CG: I’ve been wearing the same three for ten years. I switch between Songes, Neroli, and sometimes Eau Sauvage, from Dior.
ID: Infidelity! [laughs] Annick used to wear L’Heure Bleue from Guerlain. She was crazy about Guerlain. I am too.

What about your children? [Camille has two daughters; Isabelle has a son and a daughter.] Do they have the family nose?
ID: Oh yes, the family nose!
CG: Especially the youngest [Camille’s Maïa, age 11; Isabelle’s Mandana, age 12].
ID: Sometimes what they say about smells, no other child would remark. For example, if someone is running beside us, chewing gum, one of the children will say, “Mama, will you get banana chewing gum like this lady’s?”

Annick Goutal
397 Bleecker Street, New York City, 646.964.4819.
annickgoutal.com

The post Perfumer Camille Goutal on Her Mother Annick’s Legacy, Her First Stateside Boutique, and Fragrance “Infidelity” appeared first on Vogue.

Frank Ocean’s Female Orchestra Strikes a Glamorous Chord at the Met Gala

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Frank Ocean's Orchestra met Gala

Concert-hall attire for classical musicians is usually a rather sedate affair. But with the crowd at tonight’s Met Gala dressed to the hilt in voluminous couture dresses and white-tie tails, the all-female orchestra that backed up the evening’s surprise musical guest, Frank Ocean, dialed up the glamour. The look: Dietrich-esque top hats (cocked just so), ladylike chignons, and a matching swipe of scarlet lipstick.
 
In the hours before the 31 members of the Charles James Orchestra took the stage, Julio Sandino, cofounder of the SoHo makeup studio Pucker, and his assistants executed the pitch-perfect bordeaux lips using NARS Satin Lip Pencil in Majella. It’s a long-wearing formula, he explained, but the wind-instrument players, with mouthpieces to contend with, called for an extra dusting of rouge-colored blush on top to set the color. (Guests who don’t care to freshen up between cocktails, take note: “It’s the same [technique]!” says Sandino. “Lipstick, blot, powder, blot—and then it stays!”)
 

Nars Satin Lip Pencil
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Photo: Courtesy of Nordstrom

For the crowning touch, Edward Tricomi, of New York’s Warren Tricomi salons, led a team of stylists in coiling their low buns and anchoring each hat with bobby pin after bobby pin. Simply put, he said with a laugh, “They’re not coming off.”

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Making It to the Top of Mount Kilimanjaro: Dermatologist Ellen Marmur’s Photo Diary

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Photo: Courtesy of Kent Seki and Dr. Ellen Marmur

Dermatologists are always looking for novel ways to drive home the message of sun protection—but it’s safe to say that Manhattan’s Ellen Marmur, M.D. has set the bar particularly high. Her ambitious plan for raising awareness came to her as she was preparing for the adventure of a lifetime: this summer’s climb up Mount Kilimanjaro. “UV intensity is so much worse at [high altitudes],” she explains of launching her own fundraising initiative, “Skin Cancer, Take a Hike!,” earlier this year in anticipation of the challenging outdoor trip. Conceived as the first in a series of annual hikes that will raise money for the American Academy of Dermatology’s SPOT Skin Cancer initiative, the donations (totaling more than $140,000 to date) will help build shade structures and provide skin exams across the country.

For Marmur, the key to withstanding a week under the powerful rays that shine down on Tanzania’s most famous peak was a well-edited mix of sun-shielding clothing, which—as her travel diary illustrates—includes everything from a Lululemon shirt with knuckle-grazing sleeves to Coolibar hats with breezy neck flaps. When it came to her arsenal of sunscreens, you name it—tinted face lotion (EltaMD), solid stick (Banana Boat), antioxidant-spiked cream (Previse), bug-repellant SPF spray (BullFrog), long-lasting sport formula (SkinCeuticals)—she brought it.

Preparing for the climb itself was another matter entirely. Marmur, who usually trains with Manhattan–based fitness pro Thomas Heath, began shaking up her workouts more than a year ago, shifting from exercises that use her own body weight to more heavy-duty strength training: “pushing metal sleds, pulling a harness full of weights, or doing the rowing machine,” she said. All of this—coupled with shooting hoops in the nearby parks—helped target “all kinds of ancillary muscles so that my balance was good for climbing.” Then, starting this spring, she switched to a combination of yoga with Abigail DeVine and daylong hikes on the weekends. “I’d forgotten that there is so much incredible nature right around us,” Marmur said, singling out nearby Bear Mountain, an hour’s drive from New York City, for practice climbs. She streamlined her diet, too, paring down the animal proteins and ramping up the vegetables, nuts, and fruit.

It all paid off on July 24—day six on Kilimanjaro—when Marmur’s team of eleven (plus as many guides) set off at midnight for the summit. The final seven-hour stretch of the climb was in utter darkness, the tiny lights of their headlamps mingling with the field of stars ahead. “The guides sang in Swahili to us the entire time, these beautiful songs,” Marmur said. At the peak, called Uhuru, the group unfurled a garland of orange ribbons, each dedicated to someone affected by skin cancer, as the bright sun rose behind them in the sky.

Above, a history of her trip in pictures.

For more information about donating to skin-cancer awareness, visit marmurmedical.com or skincancertakeahike.com.

The post Making It to the Top of Mount Kilimanjaro: Dermatologist Ellen Marmur’s Photo Diary appeared first on Vogue.

Vogue Cover Girl Andreea Diaconu on Surfing, Skin Care, and Why Plucking Your Eyebrows Is a Bad Idea

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Andreea Diaconu beauty staple

Andreea Diaconu is one of those chameleon-like models who defies type-casting. In Chloé’s fall campaign, she plays a gypset Thelma to Sasha Pivovarovas Louise wearing a decadent mixed-fur coat; for Ralph Lauren Collection, she’s to the manor born in a dove-gray turtleneck and languid floor-length skirt. This month, Diaconu, who appears on her first Vogue cover alongside eight of her dazzling young industry peers, is playing her most familiar role to date: fresh-faced model-of-the-moment.

The 23-year-old Romanian beauty—who, in a sure sign of her broad-reaching crossover appeal, has also added “Victoria’s Secret model” to her fast-growing resume—currently calls New York home, although her nonstop travel schedule means that her passport probably gets more use than her MetroCard. (“During the World Cup I was in a hotel in London, and there was this huge bathtub with a TV set. I watched games in it!” she admits with laugh). But Diaconu, who logged a few years on the competitive karate circuit, has stamina aplenty to keep pace, which will come in handy as she embarks this week on a whirlwind marathon of fashion shows in New York, Milan, and Paris. Vogue.com caught up with the model during the calm before the storm—a two-week holiday in Costa Rica. Here, she shares her obsession with face mists, her mother’s surprising secret to perfect hair, and how she gets creative with workout gear while on vacation.

How do you describe your approach to beauty? Are you a minimalist or a maximalist?
I’m definitely minimal, mostly because of my traveling: Everything has to be in little tiny containers. Makeup-wise [when I’m not working], I just use highlighter, concealer, blush, and then mascara if I’m going out! I like to give my skin a breather. I’m sure you’ve heard this one before, but it’s true.

Growing up in Romania, did you experiment much with makeup?
All I wanted to do was pluck my eyebrows. So that’s what I did. I only plucked one, I think. I was like, “Oh, it’s too painful, it’s not worth it!” Now, that’s something I definitely do not mess with.

Who were your beauty icons?
Françoise Hardy and Lauren Hutton, when I was younger. I still find them inspiring. If I were to cut my hair, I would definitely cut bangs and be like, “OK, Françoise Hardy today!”

What are some of your beauty essentials?
Romance perfume, from Ralph Lauren. That was my first fragrance, and I still wear it sometimes. I’m obsessed with face mists. I like Mario Badescu—the one with aloe, herbs, and rose water. The rose water at Whole Foods is really good, and Caudalie [Beauty Elixir], too. I use a Neroli Blossom Serum, from Poppy and Someday. It’s all-natural—it’s a bunch of oils mixed together. And Tracie Martyn has a mask that’s incredible. You just leave it on for fifteen minutes, and you notice a difference right after. [For mascara,] I like Diorshow and BADgal Lash from Benefit. I apply it with a fat brush and then with a clean brush I just comb it through, so it looks natural.

The September fashion shows must take a toll. How do you keep your skin looking its best?
Makeup artists, they’re a lot gentler now, and they use good products. They give you a massage before. It’s like you’re getting a treatment every day!

How about hair maintenance—do you use any oils or masks?
My mom always told me to wash my hair with beer. I’ve only done that once. But her hair is amazing, and she does it every week. You’re going to smell like alcohol for the day, but other than that it’s fine! I put Nuxe [Huile Prodigieuse] and coconut oil and apricot kernel oil in my hair; I just mix them all together. When I’m on holiday, I walk with tons of oil on my hair, I don’t care.

Any foods you swear by, or swear off, to stay feeling healthy?
I work out a lot and I’m 23, so not really. I try not to eat a lot of bread. And I’ve kind of cut out dairy because it just doesn’t do me any good. I use almond milk for my smoothies—but I’ll still have ice cream!

I hear you’re a surfer?
Yeah—well, not a good one! I started two years ago, but with a hectic schedule it’s hard to keep up. Every time I start again I feel like a beginner.

Do you still do karate at all?
There are very different styles in New York. I did find one studio in the Rockaways, so I intend on [trying it out] if I ever go surfing back there. But I do boxing at Aerospace, in New York.

What else is part of your fitness regimen?
If I’m in New York, I’ll do SLT, SoulCycle, modelFIT or yoga. Or I’ll just go to Equinox and do my own workout, if none of those has availability—because, as we all know, New York is crazy for working out! Now that I’m in Costa Rica, I [go to] this website called BodyRock.tv and just do whatever doesn’t require weights. Yesterday we had a watermelon in the house, and I used that as my medicine ball.

The post Vogue Cover Girl Andreea Diaconu on Surfing, Skin Care, and Why Plucking Your Eyebrows Is a Bad Idea appeared first on Vogue.

The Skate-or-Die Ponytail: Spotted Backstage at Creatures of the Wind’s Spring 2015 Show

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Creatures of the Wind Spring 2015 Ready to Wear Messy Ponytail

“The whole skater-boy thing—that was our starting point,” said hairstylist Anthony Turner backstage at the Creatures of the Wind Spring 2015 show, where he was raking models’ hair into low, disheveled, half-in, half-out ponytails. “It’s a very pretty collection, with a lot of floral prints, wide-leg pants, canvas stripes,” he explained. “I really wanted to play against the clothes—and in a very odd way, it works.” The key to the effortless (and weightless) look: handfuls of Bumble and Bumble Full Form Mousse, which he worked into the hair, section by section—“not using a brush, not using a comb,” he explained. “There’s a certain confidence to this hair, as if you’re not trying too hard. It’s a can’t-be-bothered ponytail.” Which perfectly suits our ultra-low-maintenance protocol of the moment. But make no mistake, Turner added, the look is not all rough-around-the-edges. “There’s a little touch of romance there as well. When the girls move, all the hair floats.” Made for catching air—just like their half-pipe alter egos.

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Vogue Cover Model Fei Fei Sun on the Perfect Red Lipstick and Why Sunscreen Is a Must

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Fei Fei Sun

Fei Fei Sun—the ethereal Chinese model making her Vogue cover debut this month alongside eight of her fellow “Instagirls” friends—is a perfectly primed canvas when it comes to makeup. Each of her finely drawn features seems to invite bold gestures, whether it’s a sculptural, heavyweight brow; an electric–Kool-Aid lip; or an ultra-feminine cat eye, which she wore to cinematic effect at this year’s Met Gala. (Not coincidentally, Audrey Hepburn is a source of inspiration: “She was really glamorous. I especially love her in Breakfast at Tiffany’s,” says Sun.)

How to keep that canvas pristine? “It’s all about sun protection,” explains the porcelain-skinned 25-year-old, who has set down roots in New York. “I remember my mother reminding me to put on sunscreen every day when I was in middle school.” She still does: When off-duty, she wears little else on her face besides her go-to moisturizer (La Mer’s Oil Absorbing Lotion) and a trusted SPF (she likes La Roche-Posay’s creamy formulas).

It may sound simple, but with this month’s flurry of runway shows and makeup tests about to kick into high gear, cleansing becomes a several-times-a-day ritual for the model (to remove more dramatic color statements, like those aforementioned cat eyes, she uses Chanel’s Démaquillant Yeux Intense). At the end of each day, she follows a three-step process for her hair—washing first with conditioner to gently remove styling products that have built up on the surface, then shampooing, and ending with a mask to ensure a deep, nourishing clean. She also strives to maintain her health with a mix of yoga, running, and good-for-you food. “I swear by green vegetables and fruits,” Sun says. “My skin looks better, and I have more energy.” With the fashion marathon ahead, she’ll need it.

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Model-Tested Fitness Strategies: The Best Classes, Trainers, and On-the-Go Routines

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Xiao Wen Ju

This time of year, models log some serious mileage as they trek all over town between shows, castings, and late-night parties—not to mention the requisite laps around the runway. “It really is like running a marathon,” says Amanda Murphy, who is among those making the monthlong odyssey from New York to London, Milan, and Paris. Just as conventional marathoners swear by a rigorous training regimen, the same goes for this crowd—albeit with a more idiosyncratic mix of pickup basketball, Yogilates, and pedaling through the Manhattan streets. Here, six Fashion Week regulars share their fitness strategies for maintaining high energy—and high spirits—in the midst of the madness.

Kendall Jenner
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Photo: Courtesy of Kendall Jenner


Kendall Jenner
When she’s off-duty in L.A., the model-of-the-moment hands the fitness reins to her trainer, Gunnar Peterson, during their four-times-a-week sessions. “I do whatever he tells me to do—some cardio, some muscle-building—to tone myself up.” With the fashion shows in New York and Europe kicking into high gear, she’s on her own. “I’ll run to a gym and get on the treadmill; I [also] do a lot of ab work and planking. I usually try to keep up with it because, for me, Fashion Week isn’t just a week—it’s a month!” Next on her agenda: Putting together the ultimate sweat-it-out playlist, which will include “Kanye, for sure,” she says. “Some of his music really gets me in the workout mood.”
Sasha Luss
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Photo: Courtesy of Sasha Luss


Sasha Luss
Staying grounded during Fashion Week goes beyond the physical, as the golden-haired model explains it: “You need to be super relaxed, super calm, and just take it as it is.” She unwinds with “absolutely not cool” music from her native Russia, along with Red Hot Chili Peppers albums; to sync up mind and body, she practices Yogilates at home and follows a series of videos by a Russian instructor. “And I drink a lot of water and green juice,” she says, giving a shout-out to the juice cart near her Wall Street apartment. “This guy knows how I like it: a lot of ginger, a lot of lemon. He’s doing his job with love.”
Amanda Murphy
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Photo: Courtesy of Amanda Murphy


Amanda Murphy
Wellness, inside and out, starts at home for the Chicago-based model: Her fiancé is both a personal trainer and a naturopath. They work out together four days a week, doing everything from lunges on a balance beam to core strengthening. “He doesn’t take it easy on me either!” she says with a laugh. “When I’m doing shows, I always travel with a resistance-band kit in my bag. It’s superlight, and you can do any number of exercises with it. He’ll usually text me a regimen, and I will do my best to get it done,” she explains. “Campaign season is right after this, so there’s no slacking allowed,” she adds. When her modeling duties once again ease up, she has another athletic pursuit to keep her busy: Jumping horses. “I just bought my house in Chicago, on the south side, so now my horses are in the yard.” Her childhood dream, fulfilled.
Grace Mahary
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Photo: Courtesy of Grace Mahary


Grace Mahary
What’s her fitness life like these days? “The hours are few and far between to work out during Fashion Week,” says the cheerful Canadian-born model. “But I love SoulCycle. I practice several different types of yoga, just to keep cool,” she says, calling out Modo in the West Village. “Even when I travel, if I have 15 minutes, I try to get in a little bit of meditation.” She can also be spotted on Manhattan’s basketball courts, putting her model proportions to good use. “I used to play three [positions during school], but now I just go to shoot around.”
Xiao Wen Ju
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Photo: Courtesy of Xiao Wen Ju


Xiao Wen Ju
The lithe-limbed Chinese model sticks to a straightforward fitness routine: “I like to do slow, long-distance running—it’s kind of like life,” she says. Her signature posture—regal and upright, even amid the chaos of backstage hair and makeup—has led people to suspect years of ballet training. Not so. Instead, she credits her mother with inspiring her perfectly straight carriage. To this day, she advises her daughter to sit “like a [grandfather] clock and stand like a tree.”
Karlie Kloss
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Photo: Courtesy of Karlie Kloss


Karlie Kloss
“I love to start my day off right with a great workout,” says the model, who swings a kettlebell and hovers in plank pose in this season’s Nike campaign. “Best-case scenario is I’ll wake up early, like 6:30 or 7, and catch a SoulCycle or ModelFIT class. Then I’ll make a delicious breakfast: scrambled egg whites, maybe a protein shake, or Greek yogurt. It’s my favorite meal of the day.” When fashion shows and editorial shoots carry her far from home (and far from a spin bike), she’s prepared. “I always bring ankle weights in my suitcase when I travel, so I have an exercise routine [that] I can do in the hotel gym or in my room,” she explains. “Anything to just get your body moving.”

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Tennis Star Caroline Wozniacki Gets a Sleek New Cut During New York Fashion Week

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Photographed by Mimi Ritzen Crawford

Last Sunday, all eyes were on Caroline Wozniacki, the powerhouse Danish tennis player, as she squared off against Serena Williams in the final match of the U.S. Open. (Williams won, and the close friends celebrated that night with selfies and drinks.) This week, the 24-year-old blonde got a chance to play the spectator, sitting in the equivalent of courtside seats at the spring shows. To anyone familiar with her tournament style—smartly tailored ensembles by Stella McCartney for Adidas (she has served as a brand ambassador since 2009), paired with a classic braid—her interest in fashion and beauty comes as little surprise. And so it was that, following the Michael Kors show yesterday, she made a beeline for Serge Normant’s downtown salon in search of a fresh cut.

The crisp early fall air seemed reason enough for a change—or perhaps it was the parade of plaited models at Kors that helped spur Wozniacki into action: Two weeks ago at the U.S. Open, her long braid got caught mid-match around the grip of her tennis racket, costing her a point. (“Hair trouble!” read her Instagram caption.) Now, nestled into the salon chair, she was entrusting her mane to Serge Normant, the French superstylist behind Sarah Jessica Parkers’s and Julia Robertss signature waves.

“You have a great head of hair! It’s really healthy,” Normant said, fluffing out the strands that cascaded over her shoulders. No need to lose too much length, they both agreed. “I definitely want to be able to put it up in a ponytail. Otherwise it’s going to be a mess whenever I play,” Wozniacki added. They settled on going a few inches shorter and fine-tuning the shape with long, softly textured layers, for a look that has “more structure, more edge—a bit of sophistication without being harsh,” the stylist explained. After making the baseline cut in a few decisive snips, he set about layering, working section by section with precision.

Halfway through, it was decision time once again; to highlight, or not to highlight? Wozniacki offered up a confession: Back in March, in a moment of Rihanna-induced color envy, she fearlessly dyed her hair red at home only to discover that it faded all too quickly to an undesirable pink. “My ideas in the past haven’t always turned out great, so I might just go with his!” she said good-naturedly of Normant’s prescription—which included a sprinkling of sun-kissed, “baby blonde” highlights (painted balayage-style by colorist Gina Gilbert), to give dimension and flatter the face. “The brighter, the better,” he said.

Another hour and a polished blowout later, the finished look earned the tennis star’s praise. “I like it! It’s fun; it’s young. And I guess now my hair won’t get stuck in the racket!” she said. The lightweight cut should also be easier to style, she added. Good thing, because she’ll need the extra time. After flying to Tokyo today, where she’ll embark on a series of tournaments in Asia, she plans to ramp up her ongoing training for her first-ever running race, which just so happens to be the New York City Marathon in November. She’s raising money for Team for Kids, an organization that helps start running clubs and introduce healthy habits to children. “I’m a very spontaneous person,” she explained of the spur-of-the-moment decision to sign up this past June, which—much like her sudden hair transformation—was promptly put into action. As Wozniacki says with a laugh, “When I get an idea, this is what happens!”

Serge Normant, 147-149 Grand Street and 30 E. 76th Street, New York City; sergenormant.com

Sittings Editor: Ketevan Gvaramadze 

The post Tennis Star Caroline Wozniacki Gets a Sleek New Cut During New York Fashion Week appeared first on Vogue.

5 Things You Never Knew About Perfume: A New Book Unlocks the Secret History of Scent

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Mandy Aftel Perfume Book

Even if you haven’t been formally introduced to Mandy Aftel’s transportative natural perfumes—from her small-batch liquid fragrances in their miniature glass bottles to her solid scents encased in reclaimed antique boxes—there’s a chance you’ve had an unwitting encounter with her popular culinary oils. Bartenders at PDT and Pegu Club, both in Manhattan, have incorporated the flavored essences into experimental cocktails; the artisanal ice cream whiz Jeni Britton Bauer uses them to churn out imaginative new flavors (vanilla cedar wood, wildberry lavender); and Daniel Patterson, the Bay Area chef who collaborated with Aftel on the 2004 cookbook Aroma: The Magic of Essential Oils in Foods and Fragrance [Artisan], stocks several varieties—including coriander, wild sweet orange, and pine needle—in the kitchen of his two-Michelin-star restaurant, Coi.

Today, Aftel opens another portal into her olfactory domain, with the launch of her latest book, Fragrant: The Secret Life of Scent [Riverhead]. Centered around five key aromatics—jasmine, cinnamon, ambergris, mint, and frankincense—it weaves together a powerful history of the senses. “People sailed around the world the wrong way just to get different aromas into their lives,” explains Aftel. In the spirit of those spice-seeking adventurers, she sets off on a sweeping narrative tour, exploring the role of scent in everything from Greek mythology and classic texts likes One Thousand and One Nights to its impact on modern medicine, and even flapper-era cocktails. Here are just five of the curiosities we learned from Aftel’s new book.

The post 5 Things You Never Knew About Perfume: A New Book Unlocks the Secret History of Scent appeared first on Vogue.

New York City Ballet’s Tiler Peck on the Ballerina Body, the Perfect Onstage Red Lipstick, and More

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Tiler Peck ballet
Tiler Peck ballet
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Photographed by Mark Peckmezian


Last week, at the height of New York City Ballet’s fall season, Tiler Peck was pulling double-duty: by day, rehearsing for her title role in Little Dancer, a Degas-inspired musical opening later this month; by night, taking the stage at Lincoln Center to rapturous applause.

Grace under pressure is a quality that the willowy brunette has honed over the past decade, having joined the company as a precocious fifteen-year-old. Now age twenty-five, she has just wrapped up performances of several Balanchine classics and two highly anticipated premieres. One was Pictures at an Exhibition, a ballet for ten dancers by the celebrated choreographer Alexei Ratmansky. The other was Funérailles, a sweeping pas de deux by the young British talent Liam Scarlett, featuring Peck and fellow principal Robert Fairchild, whom she married in June. (Robbie, as she calls him, is also about to add a musical to his own resume: This December, he plays Jerry Mulligan—a role made famous by Gene Kelly—in a new production of An American in Paris; after an initial run in Paris, it arrives on Broadway next March.)

To get through it all with a sound, injury-free body and flawless onstage makeup is yet another feat Peck has mastered. Here, she talks with Vogue.com about the benefits of one-on-one Pilates, the ultimate trick to a swanlike ponytail, and why a pedicure always matters—even in pointe shoes.

Tiler Peck ballet
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Photographed by Mark Peckmezian

Tell me about the voluminous embroidered Alexander McQueen dress you wore in the Liam Scarlett ballet. Did Sarah Burton come for the fitting?
She didn’t, but she sent us flowers on the opening night, which I thought was very sweet. The dress is just stunning. Onstage, it definitely has a mind of its own. The music gets very intense, and the dress is flying around—there’s this sort of wildness to it that I really love.

How was the experience with Alexei Ratmansky?
I was really excited to finally get the chance to work with him. He just knows how to push his dancers. He gave me a lot of little, quick jumps; I’m a fast mover, but jumping is not something that I really love. I feel like he took my weakness and somehow turned it into a strength, and he used the musicality and the spontaneity of the steps to bring that out.

Any pro tips on how to execute the perfect ponytail?
I always try to put the elastic around almost to the point where you think it’s going to snap. A dancer can always get it one more time [laughs]. I never slick my hair back—I like a little natural softness in the front, just because it makes me feel more feminine—but I use hairspray for the flyaways. Once I get my ponytail up, we do this thing that we call the Zipper. You tilt your chin up so the hair in the back [at the nape of the neck] is not so tight, and we kind of twist the pins upward into the base of the ponytail, like a zipper. You want a clean neck, so it looks as long as possible.

Your stage makeup needs to have serious staying power. What are some of your go-to products?
First, I put on Laura Mercier’s primer. It takes care of my skin. I use the foundation they give us: panstick, then pancake, which you put on using a wet sponge, and then loose powder over that. That’s the base. I like Dior [waterproof] mascara. There’s even a blue one that I wear sometimes, to open my eyes. I put mascara on my own eyelashes, curl them, and then I put false eyelashes on; we wear double sets, so very big lashes! I normally go for a MAC lip—Viva Glam I. I’ve been wearing the same color forever. To get my makeup off, I use a Neutrogena makeup wipe. Then I clean my face again when I get home with my Cetaphil face wash.

Tiler Peck ballet
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Photographed by Mark Peckmezian

How do you refuel and unwind after a performance?
That’s when I eat dinner: After a show. I don’t like being full when I’m dancing, so if there’s a 7:30 performance, I probably won’t eat past 3 o’clock. Normally we’ll do a whole-wheat pasta with grilled chicken, with sage and just a simple cheese. I like to have pasta the night before a big show because I feel like it gets me ready. And I love taking baths with Epsom salts. It’s supposed to relax your muscles and make them regroup faster.

Given the strain you put on your feet, do you make a point of getting reflexology or pedicures?
I get a manicure and pedicure every two weeks! I’m serious about it. I’m from California, and I do not want my feet to look like a ballerina’s; it also just feels better in a pointe shoe. I usually go to Simply Nails in the Sixties on Amsterdam across the street from my apartment. I always have light pink on my hands because we can’t have dark colors on stage, and a really bright red or pink on my toes.”

Outside of rehearsal and performances, what do you do for fitness?
I always have rehearsal at 12 and want to be warm, so I take company class every single day. It just starts me off in the right way. Sometimes I’ll go to Steps [on Broadway] to take a [ballet] class, or I’ll take a Pilates class if I feel like I need to stretch my body. The woman I take with, Marimba Gold-Watts, used to be a dancer, so she really understands and tailors the session to each individual. I don’t really need core strength; I always want lengthening. My upper back can get stiff, which then puts some pressure on my lower back, so we keep the upper back moving and rotating. But there’s nothing that you can do outside of doing ballet that can get you into ballet shape. It’s the aesthetic of standing turned out; the way your arms are shaped because you hold them up and out for so long. You can just tell a dancer, even when they walk on the street.

You’re heading down to D.C. to rehearse for the Kennedy Center musical. When does Robbie head to Paris for his show?
He leaves November 4. Paris is where he proposed to me, so it’s a special place for us.

Where did he pop the question?
The top of the Sacré-Cœur. He faked a New York City Ballet photo shoot, but when we got there, it was a proposal scam!

The post New York City Ballet’s Tiler Peck on the Ballerina Body, the Perfect Onstage Red Lipstick, and More appeared first on Vogue.

“There Are No Ugly Women, Only Lazy Ones”: A New Beauty Exhibition Explores the Life and Legacy of Helena Rubinstein

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Photo: Bernard Villemot

“There are no ugly women, only lazy ones,” Helena Rubinstein famously declared—a manifesto as persuasive and direct as the industrious beauty entrepreneur herself, who is the subject of a compelling new exhibition opening today at the Jewish Museum in New York. Formidable beyond her four-foot-ten frame, Rubinstein was the quintessential self-made woman, effortlessly navigating the intersection between culture and commerce while amassing a glittering checklist of breakthrough innovations—from the first waterproof mascara to a series of novel skin-tightening therapies.

Yet, for all of her forward-thinking advances, it is Rubinstein’s personal journey, from pioneering émigré to powerhouse beauty scion, that manages to truly captivate. Born in 1872 in working-class Kraków (two of the many biographical details that she creatively revised over the years), she set sail for Australia at age 24, abandoning her given name, Chaja, in favor of the more urbane Helena Juliet. Before long, her alabaster complexion caught the attention of the sun-weary locals, and in 1903 she began selling her miracle face cream, Valaze—purportedly infused with “rare Carpathian herbs”—at her debut salon in Melbourne. In the ensuing decades, her global empire grew to include outposts in more than 30 cities, from London (where clients often took pains to arrive unnoticed, as beauty rituals were largely practiced by women of ill repute) to Rio de Janeiro.

It was in New York, however—where well-heeled women swung in and out of the doors of her self-titled seven-floor flagship on Fifth Avenue—that the tireless Rubinstein made her mark (always with an eye on her archrival Elizabeth Arden and the upstart Charles Revson of Revlon, whom she archly referred to as “the nail man”). Madame, as she was universally known, championed the use of then-experimental chemical peels and was an early advocate for sun protection (“I have but this to say, sunburn is beauty suicide”). And while not a conventional beauty herself, she adopted a striking sensibility: She filled her closets with Schiaparelli, Poiret, and Balenciaga, wore layers of opulent jewels, and swept her raven-colored hair into a severe chignon.

Her preoccupation with the female form was evidenced in her staggering collection of contemporary art. Many of those works, including portraits of her own likeness as rendered by such artists as Man Ray, Marie Laurencin, and Andy Warhol, are on display in the exhibition. Here, a few of our favorite quirky facts worth noting for those who plan on checking out “Helena Rubinstein: Beauty is Power” this weekend.

“Helena Rubinstein: Beauty Is Power” opens October 31 at the Jewish Museum, New York City; thejewishmuseum.org

The post “There Are No Ugly Women, Only Lazy Ones”: A New Beauty Exhibition Explores the Life and Legacy of Helena Rubinstein appeared first on Vogue.

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