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EDITOR’S LETTER The POWER of PERFORMANCE Celebrating the art that holds up a mirror to our turbulent THOMPSON: COLLIER SCHORR; FASHION EDITOR: SAMIRA NASR; HAIR: LACY REDWAY; MAKEUP: ROMY SOLEIMANI; MANICURE: GINA EDWARDS. NASR: JODY ROGAC. SEE THE DIRECTORY FOR SHOPPING DETAILS. times could not be more important right now. In this, our performance issue, we shine a light on performing artists from a range of disciplines—actors, playwrights, choreographers, musicians, artists, and dancers—who have returned to the stage with work that feels urgent, revelatory, and new. For our cover story, Collier Schorr photographed actor Tessa Thompson, whom I’ve known for many years and watched evolve into a steady, self-assured force. Tessa stars this summer in two big franchises—the latest Marvel blockbuster, Thor: Love and Thunder, and the fourth season of HBO’s Westworld—but as always remains grounded. During the pandemic, she took the opportunity to look at the kind of work she was doing—and Hollywood—through a wider lens, launching her own production company, with plans to bring stories that represent a more diverse range of characters and experiences, many of them about women of color and people in marginalized communities, to the screen. “How do we create worlds where the kind of protagonists that we don’t often get to see get to take up space?” she muses to writer Lauren Michele Jackson. Dior coat and corset belt; 800-929-DIOR. Bulgari High When our features director, Kaitlyn Greenidge, was speaking to Jewelry earrings; 800-BULGARI. Falke socks, $19; Pulitzer Prize–nominated cultural critic Soraya Nadia McDonald about how to write about the breadth of talent featured in our Church’s shoes, $1,100; performance portfolio—which includes everyone from Mikhail Baryshnikov to Maggie Rogers to Black Thought and Questlove of the Roots—a throughline became clear: Our bodies are all under threat in some way or another right now, whether because of climate change, the perilous state of our reproductive freedom, systemic racism, or the pandemic. The art that so many of these performers are creating forces us to confront these threats, to find the humor, light, joy, and resolve in the darkness. Camille A. Brown, the first Black woman to both choreograph and direct a Broadway show in more than 65 years with a revival of Ntozake Shange’s for colored girls who have considered suicide / when the rainbow is enuf, put it like this: “There’s a future past what we think is the end.” It is a thread that runs through the issue, including our Voices section, where we spotlight the members of the Kyiv City Ballet, most of whom arrived in Paris the day before the Russian invasion of Ukraine and were subsequently stranded. They keep dancing, in their temporary home at the Théâtre du Châtelet, as an act of resistance. “The stage is the place of war for us,” the company’s founder and general director, Ivan Kozlov, tells Alice Cavanagh, who profiled the troupe. “With every successful performance and every happy audience, we show we are strong as a nation.” Of course, in fashion, the catwalk is the stage. And so I’m thrilled to pay tribute to movement directors like my friend Stephen Galloway and Les Child in our News section. They are the unseen visionaries who turn a walk into a strut, a runway into a show. Whether you are planning a trip to your local theater or New York City, I hope this issue inspires you to support the performing arts. 08/22 12 B A Z A A R


P L AY L I S T INTRODUCING THIS ISSUE’S MUSIC DIRECTOR DUDAMEL: DANNY CLINCH FOR LA PHIL; COLDPLAY, VIVA LA VIDA OR DEATH AND ALL HIS FRIENDS: COURTESY PARLOPHONE RECORDS; LEONARD BERNSTEIN, STEPHEN SONDHEIM, AND 2021 WEST SIDE STORY CAST, WEST SIDE STORY (ORIGINAL MOTION PICTURE SOUNDTRACK): HOLLYWOOD RECORDS/UNIVERSAL MUSIC GROUP; CARLOS VIVES, EL AMOR DE MI TIERRA: GUSTAVO DUDAMEL EMI LATIN/UNIVERSAL MUSIC GROUP; JOHN WILLIAMS, STAR WARS: THE FORCE AWAKENS (ORIGINAL MOTION PICTURE SOUNDTRACK): WALT DISNEY RECORDS/UNIVERSAL MUSIC GROUP FEATURED 5. LOHENGRIN, TRACKS PRELUDE TO ACT I 1. Richard Wagner, performed by “VIVA LA VIDA” the New York Coldplay Philharmonic with 2. Leonard Bernstein “MARIA” (FROM 6. “J’AI BESOIN DE LA WEST SIDE STORY) LUNE” Leonard Bernstein Manu Chao and Stephen Sondheim, performed 7. “DOS GARDENIAS” Omara Portuondo by Ansel Elgort 8. “LIVIN’ LA VIDA 3. LOCA” “FRUTA FRESCA” Ricky Martin Carlos Vives 9. NIXON IN CHINA, ACT I, SCENE 1: “THE PEOPLE ARE THE HEROES NOW” John Adams, performed by the Orchestra of St. Luke’s with Edo de Waart 10. “EARFQUAKE” Tyler, the Creator 11. “ROXANNE” The Police 12. “EL PUÑAL Y EL CORAZÓN” Café Tacvba 13. “GOLDWING” Billie Eilish 14. “THE LIGHT” Common 4. Listen to Gustavo Dudamel’s full playlist “MAIN TITLE AND THE ATTACK ON THE exclusively on Apple Music. JAKKU VILLAGE” (FROM STAR WARS: THE FORCE AWAKENS) John Williams “The most beautiful PERFORMANCES have a UNIQUE SPIRIT,” says conductor GUSTAVO DUDAMEL. “That MAGIC—that emotion and connection—is MORE IMPORTANT than technical PERFECTION.” Born in Venezuela, Dudamel is one of the world’s most prolific Hollywood Bowl’s 100th anniversary. “It’s amazing to be back,” says maestros. He has performed with Beyoncé and Billie Eilish and Dudamel of the return of live music. “We understand the real mean- conducted the score for Steven Spielberg’s 2021 West Side Story ing of playing for an audience.” For this issue, Dudamel curated a reboot, and he currently serves as the music director of the Simón playlist around the performance theme, choosing songs that he Bolívar Symphony Orchestra in Caracas, as well as the Los Angeles says are “connected with special friends and moments.” Along Philharmonic and the Paris Opera. “What makes me love what I do with “Fruta Fresca” by Colombian singer-songwriter Carlos Vives, is to be able to share joy with people,” says Dudamel. On August 2, he included “El Puñal y el Corazón” by Mexican ensemble Café he will lead the Encuentros Orchestra—made up of youth musicians Tacvba and Coldplay’s “Viva la Vida.” “Chris Martin is a brother,” from 19 countries—in a performance of Dvořák’s Symphony No. 9 says Dudamel of the latter group’s frontman. “And we share the for his final appearance in a summer concert series marking the vision of music as a tool of social transformation.” ARIANA MARSH 14 PHOTOGRAPH BY DANNY CLINCH BAZAAR

RICHARD MAJCHRZAK/STUDIO D. STYLING: JILL TELESNICKI. BUY NOW on NOW THAT YOU HAVE OUR AUGUST ISSUE, GET READY TO SHOP IT. Look for the icon next to an item in HARPER’S BAZAAR: It means the item is available to buy on—the online store brought to you by our editors. We’ve partnered with the best specialty boutiques, most coveted designers, and prestige beauty brands to present the must-have fashion and beauty edit of the season, in a shopping destination that’s open around the clock and around the world. →SHOPPING AT SHOPBAZAAR.COM IS EASIER THAN EVER. SCAN THE CODE WITH YOUR SMARTPHONE TO DISCOVER OUR EDITORS’ PICKS FROM THE BUZZIEST BRANDS. = BUY ON SHOPBAZAAR.COM

CONTENTS 12. EDITOR’S LETTER 64. COVER FROM TOP, TESSA THOMPSON: COLLIER SCHORR; FASHION EDITOR: SAMIRA NASR; HAIR: LACY REDWAY; MAKEUP: ROMY SOLEIMANI; MANICURE: GINA EDWARDS; ETTORE SOTTSASS TARTAR TABLE: © 2022 ARTISTS RIGHTS SOCIETY 14. PLAYLIST: GUSTAVO DUDAMEL TESSA THOMPSON (ARS), NEW YORK/ADAGP, PARIS. “GOING PLACES”: VINCENT VAN DE WIJNGAARD; FASHION EDITOR: ISABELLE KOUNTOURE; MODEL: MALGOSIA BELA; HAIR AND MAKEUP: LIZ DAXAUER. TARIQ TROTTER AND AHMIR THOMPSON: JODY 20. WHY DON’T YOU…? 64. ROGAC; FASHION EDITOR: ZARA MIRKIN; GROOMING: DARIEN HILLIARD; HAIR: ELLIOTT SIMPSON; MAKEUP: MARIA C. SCALI. DANCE THEATRE OF HARLEM: JODY ROGAC; FASHION EDITOR: ZARA MIRKIN; HAIR: MATT BENNS; MAKEUP: 22. CONTRIBUTORS TESSA THOMPSON TAKES HER TIME LAURA STIASSNI; MANICURES: MAMIE ONISHI; GROOMING: DON B. WINONA RYDER: DAN MARTENSEN; FASHION EDITOR: CAROLINE NEWELL; HAIR: EDWARD LAMPLEY; MAKEUP: MAKI RYOKE; MANICURE: OLIVIA DE MONTAGNAC. THE BAZAAR Story by Lauren Michele Jackson Photographs by Collier Schorr 27. THE GOOD BUY Styling by Samira Nasr 28. MARKET MEMO: FASHION DOUBLE-BREASTED BLAZERS 31. PRO SHOP: WINE DECANTERS 76. 32. MARKET MEMO: GOING PLACES Photographs by Vincent van de Wijngaard SLIP MAXIDRESSES Styling by Isabelle Kountoure 33. IN THE FASHION CLOSET: FEATURES STRAPPY SANDALS 34. THE NECKLACE 88. 35. 4 OF A KIND: DOUBLE BAGS ON WITH THE SHOW 36. THE BAG Story by Soraya Nadia McDonald 37. SHOPPING LIST Photographs by Jody Rogac Styling by Zara Mirkin VOICES 100. 38. THE POLITICS OF DANCING WINONA RYDER IS STILL PROCESSING Text by Alice Cavanagh Photographs by Carlota Guerrero Story by Heather Havrilesky Photographs by Dan Martensen 44. AS TOLD TO: JAMES IJAMES Styling by Caroline Newell NEWS & CULTURE 61. ASTROLOGY 46. ON THE CATWALK, YEAH! 107. DIRECTORY Text by Alison S. Cohn 108. ARCHIVE: MARTHA GRAHAM 50. FASHION & CULTURE NEWS AND MERCE CUNNINGHAM 52. CREATIVE JOURNEYS On the cover: Giorgio Armani blouse and fringed Text by Gisela Williams skirt; Bulgari High Jewelry studs and BEAUTY earrings; 800-BULGARI. Commando briefs; Alexander McQueen boots, 55. COLOR THERAPY $1,990; To get Thompson’s Text by Katie Intner look, try Luminous Silk Foundation ($65), Eyes to Artwork by David Ortega Kill Classico Mascara ($29), Eye Tint Liquid 58. BEAUTY NEWS Eyeshadow in Fusion ($30), Eye & Brow Maestro 60. SMOOTH OPERATORS ($35), Neo Nude A-Contour ($36), and Lip Power Longwear Satin Lipstick in In Love ($39). All, Armani Text by Jamie Wilson Beauty. See the Directory for shopping details. From top, on Tessa Thompson: Giorgio Armani BAZAAR blouse and fringed skirt; Bulgari High Jewelry studs and earrings; 800-BULGARI. Commando briefs; Alexander McQueen boots, $1,990; From “Going Places”: Bottega Veneta dress, $2,250; Balenciaga bracelet, $1,790; 212-328-1671. From “On With the Show,” on left: Prada shirt, $1,650; Accessories, his own. On right: Dolce & Gabbana jacket, $2,795; 877-70-DGUSA. Accessories, his own. “On With the Show” group shot, from top: Prada coat, $10,000, turtleneck, $1,250, jacket, $4,400, raincoat, $6,400, turtleneck, $1,250, coat, and turtleneck, $1,250; Patricia von Musulin earrings; Prada knit, $2,250, and skirt, $3,200; Patricia von Musulin earrings, $2,200; On Winona Ryder: The Row jacket, $3,190, and pants, $1,690; Cartier Juste un Clou ring, $1,240; 800-CARTIER. Converse sneakers, $80; 18

WHY D ON’ T YOU... The Month in CULTURE and STYLE 1 HIT 3 WATCH THE (JAZZ AND POETRY) CLUB BODIES BODIES BODIES On Wednesday, Saturday, and Out August 5 from A24, Sunday evenings through August 14, Halina Reijn’s new social Jaffe Drive at New York’s Lincoln Center satire stars Amandla will be transformed into the Speakeasy, Stenberg, Chase Sui Wonders, Maria Bakalova, a pop-up featuring music, comedy, Rachel Sennott, and Pete and spoken-word performances. Davidson as a group of wealthy 20-somethings 2 FEED attending a hurricane party at an isolated family YOUR INNER CINEPHILE mansion. But when a game results in murder, the friends The BlackStar Film Festival’s are forced to examine whom 11th edition, which runs they can truly trust. August 3–7 at Philadelphia’s 4 CELEBRATE Annenberg Center for the JACOB’S PILLOW Performing Arts, will showcase more than 70 works by Black, The dance center’s Brown, and Indigenous artists 90th-anniversary festival from all over the world, along culminates this month with performances by Alonzo with in-person and virtual King Lines Ballet, Les Ballet panels and screenings. Afrik, Miami City Ballet, Boston Dance Theater, and more. Located on the organization’s campus in Becket, Massachusetts, the event will mark the reopening of its newly renovated Ted Shawn Theatre. 6 TIE 5 PLAY ONE ON SKINCARE MIXOLOGIST Fall’s coziest styling hack? Cinching Active ingredients like vitamin C degrade a gown with a sweater à la Bottega after a product is opened, but Exponent Veneta and Louis Vuitton. Match the Beauty’s self-activated system, involving gauge of the knit with the volume of the dress. (A chunky fiber works best powdered concentrations and a hyaluronic-acid base, lets you whip up a with a voluminous silhouette.) fresh—and potent!—gel serum every time. 7 DRESS UP YOUR DINING ROOM L.A.’s Atelier Saucier repurposes surplus fashion textiles to create a stylish array of tabletop items, including tea towels, napkins, and wipe-clean oilcloth place mats. A portion of every purchase benefits local food and wellness initiatives. LINCOLN CENTER’S POET IN RESIDENCE MAHOGANY L. BROWNE: MARI UCHIDA; SCREENING AT THE BLACKSTAR FILM FESTIVAL: DANIEL JACKSON/COURTESY BLACKSTAR PROJECTS; AMANDLA STENBERG AND MARIA BAKALOVA IN BODIES BODIES BODIES: ERIK CHAKEEN/A24; RONALD K. BROWN/EVIDENCE DANCE COMPANY: QUINN B. WHARTON; BOTTEGA VENETA AND LOUIS VUITTON FALL 2022: COURTESY THE DESIGNERS; EXPONENT’S ACTIVE POWDERS AND SELF ACTIVATED SYSTEM: COURTESY EXPONENT BEAUTY; TABLE SETTING WITH ATELIER SAUCIER’S ENGINEER STRIPE PLACE MATS: YONI GOLDBERG FOR ATELIER SAUCIER 20 B A Z A A R

Editor in Chief SAMIRA NASR Creative Director LAURA GENNINGER Executive Editor LEAH CHERNIKOFF Executive Managing Editor CARYN PRIME Executive Fashion Director NICOLE FRITTON Digital Director NIKKI OGUNNAIKE Entertainment Director ANDREA CUTTLER Managing Editor CARL KELSCH FASHION ART Accessories Director MIGUEL ENAMORADO Art Director GARY PONZO Fashion News Director RACHEL TASHJIAN Digital Design Director PERRI TOMKIEWICZ Deputy Fashion News Editor ALISON S. COHN Fashion & Accessories Editor JACLYN ALEXANDRA COHEN Art & Color Coordinator JUSTIN MAIN Fashion & Retail Credits Editor ALICIA BANILIVY Digital Imaging Specialist KEVIN ARNOLD Fashion Commerce Editor HALIE LESAVAGE Assistant Fashion Editor NICOLE TRIPODIS VISUAL Assistant Accessories Editor JENNIFER JENKINS Contributing Fashion Assistants CHRIS CHIDI, JOÃO COZMAN, BRINLEY KNOPF, Chief Visual Content Director, Hearst Magazines ALIX CAMPBELL ANGEL MONGE, MAYRA MORALES, ADESUWA ODIASE Bookings & Visual Production Director IGNACIO MURILLO Visual Director NATASHA LUNN BEAUTY Digital Visual Director JENNIFER ALGOO Photo Archivist & Research Editor KARIN KATO Contributing Beauty Director GENEVIEVE MONSMA Deputy Visual Director MARINA SCHOGER Digital Beauty Director JENNA ROSENSTEIN Beauty Editor JAMIE WILSON VIDEO Associate Beauty Commerce Editor TIFFANY DODSON Producer AMANDA DIMARTINO Assistant Beauty Editor KATIE INTNER Director of Photography RYAN DEVITA Senior Video Editor LEE MANANSALA NEWS & FEATURES ADMINISTRATION Features Director KAITLYN GREENIDGE Editor at Large STEPHEN MOOALLEM Editorial Business Director CAROL LUZ Digital Deputy Editor IZZY GRINSPAN Editorial Business Manager KATHERYN REMULLA Special Projects Editor NOJAN AMINOSHAREI Senior Features Editor ARIANA MARSH CONTRIBUTING EDITORS Digital Senior News Editor ROSA SANCHEZ Senior Social Media Editor MARIAH MORRISON AMANDA ALAGEM, KERRY PIERI Digital Culture Editor BIANCA BETANCOURT Digital Associate Editor CHELSEY SANCHEZ 21 Executive Assistant to the Editor in Chief ALEXANDRA DELIFER Editorial & Social Media Assistant SABRINA PARK COPY & RESEARCH Copy Chief SARAH STRZELEC Research Chief JIL DERRYBERRY Copy Editor LIEF NIELSEN 08/22

CONTRIBUTORS ON THE MOST MEMORABLE PERFORMANCE THEY’VE SEEN COLLIER SCHORR LAUREN MICHELE JACKSON DAN MARTENSEN HEATHER HAVRILESKY SCHORR AND MCDONALD: SELF PORTRAITS; JACKSON: JORGE I. COTTE; MARTENSEN: LIAM CLARKE; HAVRILESKY: WILLY SOMMA; VAN DE WIJNGAARD: SCOTT CURNOW BAKER; KOUNTOURE: JOACHIM MUELLER RUCHHOLTZ PHOTOGRAPHER: WRITER: PHOTOGRAPHER: WRITER: “Tessa Thompson Takes “Tessa Thompson Takes “Winona Ryder Is Still “Winona Ryder Is Still Processing,” page 100 Processing,” page 100 Her Time,” page 64 Her Time,” page 64 “I was once working on “My daughter and her friends “Anne Teresa De “Kelela from up close— a music video for the performed ‘It’s the Hard- Keersmaeker’s dance nothing quite like it.” company, Rosas, performing Yeah Yeah Yeahs. We were Knock Life’ for a talent show in Fase, Four Movements all in a practice space third grade. I choreographed to the Music of Steve Reich drinking tequila. They the whole thing, which was out of character for me. On the while I was onstage were playing a few songs photographing it.” from their upcoming album. night of the performance, I cried my eyes out. They were It was already pretty amazing, but then Karen O absurdly cute and energetic and funny. I’m pretty sure I’ll started taking requests. I had to pinch myself.” never beat that one!” VINCENT VAN DE WIJNGAARD ISABELLE KOUNTOURE ZARA MIRKIN SORAYA NADIA MCDONALD PHOTOGRAPHER: STYLIST: STYLIST: WRITER: “Going Places,” “Going Places,” “On With the Show,” “On With the Show,” page 76 page 76 page 88 page 88 “In the late ’90s, I attended the North Sea Jazz Festival. “Given that music has always “When I was 16, I saw Missy “The play What to Send Up One of the performers was been my first passion, Elliott in concert in Aotearoa When It Goes Down, written saxophonist Michael Brecker. I feel very lucky that I got to [New Zealand]. She had by Aleshea Harris and During a performance of see Lucy Pearl perform live in bronchitis, and instead of directed by Whitney White, ‘Song for Barry,’ a tribute to canceling her show because because of its bold, smart, the great trombonist Barry the summer of 2000 as she couldn’t sing, she went the opening act for D’Angelo’s ahead and did it and just sensitive, challenging Rogers, Brecker reached danced with all of her dance sensibilities and because stratospheric heights. I heard Voodoo tour. Aside from crew. The choreography and the incredible sound, outfits were insane. I will it respects grief but harmonic changes I had always remember it as one of never despairs.” never heard before. It struck Lucy Pearl was always going the best shows I ever saw.” to do only one album as a me like lightning.” band together, so that made it extra special!” 22 B A Z A A R

Senior Vice President/Group Publishing Director CAROL A. SMITH Senior Vice President/Publishing Director Vice President/General Manager Vice President, Marketing JACK ESSIG ANNE WELCH BRENT WILLIAMS ALLEN Executive Director, Advertising Business Operations Group Executive Marketing Director & Sales Strategy Vice President, Sales JEANINE TRIOLO LISA PIANA CHRIS PEEL Chief Brand Officer, Hearst Luxury Collection E-Commerce Group Finance Manager Executive Assistant/Business Associate KEN DOWNING RON SABATINI DANA WENTZEL INTEGRATED ADVERTISING SALES BRANCH OFFICES Group Executive Director, Beauty & Lifestyle JOANNA NOWACK MELISSAKIS Executive Sales Director, West Coast MARJAN DIPIAZZA Group Executive Director, Fashion & Luxury AARON KRANSDORF Executive Sales Director, Midwest AUTUMN JENKS Senior Executive Sales Director, Luxury KATE SLAVIN Executive Sales Director, Southwest LUCINDA WEIKEL ([email protected]) Executive Sales Directors, Fashion PAULA FORTGANG, JOHN WATTIKER Sales Director, West Coast JASON YASMENT Executive Sales Director, Luxury CARYN KESLER Sales Director, Southeast RITA WALKER ([email protected]) Executive Sales Directors, Beauty ANGELA PARAUDA, JILL SCHLANGER-SLIVKA Executive Sales Director, Travel RW HORTON ADVERTISING OPERATIONS Executive Sales Director, Lifestyle TAMMY COHEN Advertising Services Director MICHAEL NIES Senior Sales Director, Beauty LAUREN DEL VALLE Senior Advertising Services Manager MICHELLE LUIS Senior Sales Director, Fashion MICHAEL RIGGIO Senior Sales Manager, Direct Media ANGELA HRONOPOULOS Senior Billing Coordinator JONELLE DUNCAN Sales Assistants OLIVIA BENSON, HALLEY DEONARINE, AALIA MEHRA, AMANDA SHEERIN PRODUCTION & ADMINISTRATION INTEGRATED MARKETING Operations Account Manager PATRICIA NOLAN Executive Marketing Directors SARAH CLAUSEN, ALEXANDRA KEKALOS, DANA MENDELOWITZ, LINDSAY SABLE PUBLISHED BY HEARST Senior Marketing Director AIMEE COUTURE President & Chief Executive Officer STEVEN R. SWARTZ Marketing Director SARA OLDMIXON Chairman WILLIAM R. HEARST III Associate Marketing Director DEAN FRYN Executive Vice Chairman FRANK A. BENNACK, JR. Senior Marketing Manager BRIANA ROTELLO Chief Operating Officer MARK E. ALDAM Marketing Managers GINNY DURKIN, EMILY LYNCH Associate Marketing Manager HANNAH BUTLER HEARST MAGAZINE MEDIA, INC. Marketing Coordinators ISABELLE ADLER, KENDRA WILLIAMS Marketing Assistant MCKENZIE SUTHERLAND President DEBI CHIRICHELLA Chief Content Officer KATE LEWIS BRAND DEVELOPMENT Chief Financial and Strategy Officer; Treasurer REGINA BUCKLEY Senior Vice President, Consumer Revenue & Development BRIAN MADDEN Executive Marketing Director, Research & Brand Development NICOLE SPICEHANDLER Secretary CATHERINE A. BOSTRON Senior Marketing Director, Research & Brand Development ALEXANDRA STETZER Associate Marketing Director, Research & Brand Development MELANIE SINGER Publishing Consultants GILBERT C. MAURER, MARK F. MILLER CREATIVE SERVICES INTERNATIONAL EDITIONS Executive Creative Director THEA KARAS Arabia, Australia, Brazil, China, Czech Republic, Germany, Greece, Hong Kong, India, Indonesia, Senior Art Director JESSICA TSOUPLAKIS Italy, Japan, Korea, Latin America, Malaysia, Netherlands, Qatar, Saudi, Serbia, Singapore, Spain, Creative Director FRAUKE EBINGER Taiwan, Thailand, Turkey, Ukraine, United Kingdom, Vietnam Art Director ALICE STEVENS HEARST MAGAZINES INTERNATIONAL EVENTS & PROMOTIONS President JONATHAN WRIGHT Executive Marketing Director, Events & Promotions KAREN MENDOLIA SVP/Editorial & Brand Director KIM ST. CLAIR BODDEN Associate Marketing Director, Events & Promotions JESSICA HEINMILLER Deputy Brands Director CHLOE O’BRIEN SHOPBAZAAR.COM Executive Director, Content Services SHELLEY MEEKS Global Editorial Director, Luxury Brands ELÉONORE MARCHAND Head of E-Commerce Operations and Strategy, Hearst Luxury Collection CATHAY ZHAO Editorial Director JADE FRAMPTON CUSTOMER SERVICE Senior Director, E-Commerce Sales & Marketing NOËLLE TOTA Call: 800-888-3045 E-mail: [email protected] Visit: E-Commerce Director MIR MARTZ Write: Customer Service Department, Harper’s Bazaar, P.O. Box 6000, Harlan, IA 51593 Senior Content & Social Media Manager MINNA SHIM Senior Fashion Editor & Brand Manager JESSICA RAWLS E-Commerce Operations Manager XIOMARA FLORIAN Assistant Managing Editor LYNDSEY NOEL Assistant Merchandising Editor REMY SCHIFFMAN Manager, Brand Partnerships KATHLEEN O’KEEFE Digital Designer SARAH OLIVIERI Digital Marketing Analyst JOSHUA RIITANO E-Commerce Coordinator REBECCA THERLONGE Editorial Coordinator, Brand Partnerships CAROLINE LASSMAN Assistant, Brand Partnerships CARLY SEMACK Editorial Content Assistant MEGHAN SHOUSE 08/22 23


THE BAZAAR WHAT TO BUY AND HOW TO WEAR IT EDITED BY JACLYN ALEXANDRA COHEN ARTWORK IN CENTER: DANSE NOCTURNE PARTANT DU CENTRE, 2022, CASÉINE, PIGMENTS, CHARCOAL, AND OIL PASTEL ON LINEN, 145 x 200 CM; ARTWORK AT TOP RIGHT: THE GOOD BUY: Chloé Nama Sneakers CROISSANT CERCLANT L’ÉNERGIE ROSE, 2022, CASÉINE, PIGMENTS, CHARCOAL, DRY PASTEL, AND OIL PASTEL ON PAPER, 20 x 28 CM; STILL LIFE: RICHARD MAJCHRZAK/STUDIO D Chloé sneakers, $795; 646-350-1770. Chloé dress, $2,495; Artist CAROLINE DENERVAUD on the SHOES that give her a CREATIVE BOOST I grew up wanting to be a dancer, but I got injured and had to find why I love my Chloé Nama sneakers. I was given them by Gabriela another way to express myself. It was hard, but I found lots of Hearst, the creative director of Chloé, this past December, and creative possibilities in painting. One day, I tried to combine the now I wear them all the time, everywhere. They make me feel two mediums, and that’s how my practice started. In my process, artistic. They’re crazy, but they go with everything, and they’re I always begin with a performance. I put canvas or paper on the very lightweight. I’m small, and they lift me up by four or five floor, and I set up a camera to film myself. I do spontaneous, centimeters too, which is quite nice. I wear them with long, fluid unchoreographed movements, and I leave marks on the canvas dresses and skirts in solid tones. I also love that Chloé worked on with charcoal, which serve as guides for the painting. I’m always making them sustainable by using recycled materials. That’s very playing with color for my work, and it’s the same with my style. important to me. It makes me proud to wear them and tell the I wear big, bright hues that don’t normally go together, which is story behind them. AS TOLD TO ARIANA MARSH 08/22 PHOTOGRAPH BY PASCALINE DARGANT 27

THE BAZAAR MARKET MEMO: Double-Breasted Blazers TWICE as Nice EMPORIO ARMANI MODEL: ABBY CHAMPION; RUNWAY: COURTESY THE DESIGNERS; MARCIANO AND ROSETTA GETTY BLAZERS AND CHANEL AND AEYDE SHOES: RICHARD MAJCHRZAK/STUDIO D; ALL OTHER STILL LIFE: COURTESY THE BRANDS. SEE THE DIRECTORY FOR SHOPPING DETAILS. = BUY ON SHOPBAZAAR.COM WHY DON’T YOU...? GABRIELA HEARST Balance out the BOXY SILHOUETTE with a pair of POINTED KITTEN-HEEL PUMPS. From top: Marciano blazer, Clockwise from top left: Maison Margiela pump; 646-798-8999. COLLECTION $280; Chanel pump, $1,075; 800-550-0005. Aeyde shoe, $325; Fear of God blazer, BAZAAR Khaite pump, $890; $1,950; Rosetta Getty blazer, PHOTOGRAPH BY DEIRDRE LEWIS $1,650; Loro Piana jacket, $4,850; 28

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VOICE S THE PEOPLE AND IDEAS SHAPING THE CULTURE BAZAAR The POLITICS of DANCING For members of the KYIV CITY BALLET, who were STRANDED in PARIS by the Russian INVASION of UKRAINE, continuing to PERFORM has been a matter of SURVIVAL— but also an ACT OF RESISTANCE On an unseasonably sultry afternoon in May, I wind my way down the back stairs of the Théâtre du Châtelet in Paris’s First Arrondissement, a Haussmannian hall built in the Italian style in the mid-19th century and one of the city’s premier concert venues. It’s my second visit in two weeks, but it’s easy to get lost navigating the twists and turns of the theater’s narrow corridors, with only the growing crescendo of jingling tambourines emanating from below to serve as my guide. Inside the lower rehearsal studio—named after Anna Pavlova, the famed prima ballerina who once danced here with the Ballets Russes—the Kyiv City Ballet company is mastering a new choreog- raphy. It’s called “Tarantella,” a nod to the upbeat Italian folk dance traditionally accompanied by tambourines. The dancers swirl and spin in a colorful array of leggings and leotards, with diaphanous circle skirts and pointe shoes. The company’s associate director, Ekaterina Kozlova, 30, sits on a stool at the front of the room, leading the session, while her husband, Ivan Kozlov, 39, the founder and general director of the Kyiv City Ballet, surveys the scene with a broad smile. “They’re all here,” he says, referring to the 38 members of his touring group, who are together for the first ➤ 38 TEXT BY ALICE CAVANAGH


VOICES PROFILE Ivan Kozlov, founder and general director of the Kyiv City Ballet (pictured above, standing in the center), with his wife and the company’s associate director, Ekaterina Kozlova (to Kozlov’s right, in gray), overseeing a rehearsal at Paris’s Théâtre du Châtelet, where they’ve been given an open-ended residency time since the Russian invasion of Ukraine began this year. They remained there for nearly two months, until Kozlov could The majority of the Kyiv City Ballet arrived in Paris on February arrange for them to be transported to Paris by bus, which happened shortly before my visit. 23, ahead of a planned two-week French tour performing the canonical Russian ballet The Nutcracker. The following morning, PARIS HAS LONG BEEN A REFUGE for artists—in particular, the entire company awoke to the news that Russia had launched dancers. The Théâtre du Châtelet itself famously played host to air strikes across Ukraine. A mass-scale evacuation followed. Many the Ballets Russes, Russian impresario Serge Diaghilev’s avant- of the dancers’ families fled the country, with the exception of garde dance company, which made its debut in Paris in 1909. The the men between the ages of 18 and 60, who were mandated to city would emerge as a haven for Russian performers, artists, and stay in Ukraine to assist the armed forces; a male soloist who has émigrés who set off for western Europe amid the social and political danced with the company, Oleksandr Dushakov, is there right upheaval in the run-up to the Russian Revolution of 1917. At the now, lending his hand to the war effort. same time, it became a melting pot of nationalities and cultures, an alchemic influence that spurred one of the most fertile creative It quickly became clear that the dancers would not be able to periods in French cultural history, “Les Années Folles”—the Jazz Age. safely return home at the end of their tour, so Paris mayor Anne Hidalgo’s office set about finding a solution. The company was put The Kyiv City Ballet’s residency at the Théâtre du Châtelet has up at a central city hotel, and on March 5 the Kyiv City Ballet was meant having a regular space for practices, not performances—though invited to take up temporary residence at the Théâtre du Châtelet. shortly after it was announced, tour managers began to scout for bookings so the company could continue to work. They had just two In early March, as they worked to finalize the residency, 10 principals, Olga Posternak and Mikhail Shcherbakov, among them other dancers who had either left Ukraine or were abroad when and nothing but the Nutcracker costumes they brought for the tour— the attacks began all made their way to the Czech Republic, where they were given space to train at the Moravian Theatre in Olomouc. 40 B A Z A A R

which, for the women, consisted of white tutus dusted with iridescent company are young; roughly half are between the ages of 18 and sequins. So Kozlov and Kozlova went about quickly developing a new 21. In the months since the war broke out, they’ve developed a show called Gala, a survey of their repertoire—prominent classical strong familial bond; they’ve spent most of their waking hours ballets, along with folk and modern dance—featuring a slice-of-life together and their nights billeted in the same hotel. When they’re opening in which the dancers reenact a rehearsal session onstage. not performing, the dancers are at the theater rehearsing, six days a week. The daily routine has other benefits. “To dance, you have Gala debuted on March 8 at the Théâtre du Châtelet as part of to be so focused mentally and physically, so it is very comforting a fundraiser featuring dancers from both the Kyiv City Ballet and for the dancers to be able to focus on something else,” says Kozlova. the Paris Opera Ballet. The portion of the show meant to mimic a rehearsal was led by the Paris Opera Ballet’s famed dance director, “What we really give them—and I use this word with great Aurélie Dupont, and Bruno Bouché, the artistic director of the caution—is a sense of normality,” Lauriot dit Prévost adds. “Just to Ballet of the National Opera of the Rhine. “It was a very moving say hello every morning when they arrive, to spend five minutes evening,” says Thomas Lauriot dit Prévost, the general director around the coffee machine and to ask how their day is.” of the Théâtre du Châtelet. “Then, it was very possible Ukraine would give up, but now the situation on the field is very different,” “No one expects war,” says Kozlova. “We just try to make sure he explains. “Ukraine is resisting in the most incredible way.” that everyone, every day, is in an okay place, and if we see someone struggling, we make sure we spend extra time with them or that Indeed, for Kozlov, ensuring the company can continue to they have the resources they need.” dance is itself an act of resistance. “The stage is the place of war for us,” he said when we first met in late April. “With every successful KOZLOVA, WHO WAS BORN AND EDUCATED in the U.S. to performance and every happy audience, we show we are strong Ukrainian-American parents, moved to Ukraine at 16 to study ballet. as a nation, that there is no way to beat us.” Kozlov’s parents are the Ukrainian ballet dancers Tatyana Borovky and Anatolii Kozlov, both longtime principals of the National Since the Kyiv City Ballet was founded in 2012, the company Opera of Ukraine, which makes him ballet royalty back home. has never had a home theater, so touring has always been its focus. His mother and stepfather have just rejoined him and Kozlova As the war unfolded, there was never any hesitation from the in Paris. His father, however, remains boarded up in his home in members of the company about continuing to perform. downtown Kyiv with his own 84-year-old mother. “We stay here because we can dance. We can represent our “We are working here. We are not hiding,” Kozlov says. “It’s country,” says Elizaveta Nadenenko, 18, who left Kyiv for Slovakia more productive to make money for our country and keep our in February before joining the company in Paris. Her 28-year-old artists busy than to hide in bomb shelters,” he offers. “I might be brother is back in Ukraine, charged with delivering food and wrong, but that is the way I feel.” medical supplies. During their stay, the dancers have had access to the majestic “I have to hope that everything will be okay, and in the meantime Palais Garnier and the dancers from the Paris Opera Ballet, who I do what I know how to do,” offers another dancer, 21-year-old rehearse and perform there—an opportunity so surreal that it has Polina Rabotina, whose twin sister and mother had gone to stay been difficult to take stock. “The Paris Opera is to ballet what with her aunt in Innsbruck, Austria, but have since returned to Kyiv. the Vatican is to Catholics,” says Kozlova. “If these events were ➤ Like Nadenenko and Rabotina, most of the members of the “The STAGE is the place of WAR for us. With every PERFORMANCE, we show we are STRONG as a nation, that there is no way to BEAT us.” IVAN KOZLOV, FOUNDER AND GENERAL DIRECTOR OF THE KYIV CITY BALLET

VOICES PROFILE SITTINGS EDITOR: KARO ROSE Members of the Kyiv City Ballet’s touring group, which has remained in Paris since the Russian invasion of Ukraine began in late February. “I have to hope that everything will be okay, and in the meantime I do what I know how to do,” says dancer Polina Rabotina, 21, whose mother and twin sister are back in Kyiv. happening slower, probably everyone would be much more in awe.” how does that help Ukraine?” he says, referring to the works of “I have mixed feelings being here,” admits Yaroslava Antonenko, artists like Tchaikovsky, whose scores the Kyiv City Ballet frequently dances to when performing The Nutcracker and Swan Lake. 21, who joined the corps de ballet last year. “It’s great to be making so much progress, and I always dreamed of being in Paris, but ON THE TOP FLOOR of the Théâtre du Châtelet, there is a long obviously not in these circumstances.” reception room with parquet floors named after the dancer Vaslav Nijinsky, who was born in Kyiv to Polish parents but grew up in In reaction to the war, the sanctions on Russia have extended imperial Russia. The room features a row of double doors that to a kind of cultural repudiation of Russian artists and art, applied open out onto a balcony with a view over the Place du Châtelet to figures and works both past and present: Russia’s expulsion and the Fontaine du Palmier and its large, monumental column from the Eurovision Song Contest (and Ukraine’s subsequent win); with the gilded goddess of victory perched atop. the cancellation of the state-sponsored Bolshoi Ballet’s summer season at the U.K.’s Royal Opera House (the company is said to I watched the dancers, in their full Nutcracker gear, jostle and have close ties to Russian president Vladimir Putin); a debate giggle here while taking in the vista. On the schedule for that afternoon over the proposed suspension of a course on Russian modernist were lessons with a group of French tango champions. Earlier that writer Fyodor Dostoevsky at a university in Milan. week, the company was given a juggling tutorial, as local artists of all stripes have continued to volunteer their time and offer support. Nevertheless, the cultural histories of ballet in Russia and Ukraine are inextricably linked. Koslov, who has danced for both “People might think dancers must have good coordination, the National Opera of Ukraine and the Russian ballet companies but we were terrible,” Kozlova says. the Eifman and the Mariinsky in St. Petersburg, sees merit in renouncing artists who have supported the Russian invasion but “Yes, and for a moment, everybody forgot about the war,” is wary of a blanket war on Russian culture. “If we cancel history, adds Kozlov. “We were all young kids again.” HB 42 B A Z A A R

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VOICES AS TOLD TO The PLAY’S the THING Shakespeare’s HAMLET has been endlessly ADAPTED. Playwright JAMES IJAMES’s FAT HAM turns the chilling TRAGEDY into a RIOTOUS exploration of QUEERNESS. I  n May of this year, James Ijames won the 2022 Pulitzer Prize demand Juicy kill Rev. Early in the play, Juicy turns to the audience for Drama for his play Fat Ham, a bawdy, Black, funny, and and soliloquies, “Fathers and sons. That shit can get dark. / unabashedly queer adaptation (of sorts) of Shakespeare’s You know. / When the chemistry ain’t right. When the father / Hamlet. Set on a North Carolina pig farm, the play closely follows Is too heavy and the son is too light. / When the father thinks the beats of the famous tragedy but remixes them into a the son is too light / When the son is too heavy. / That fucks shit meditation on masculinity, sexuality, mourning, and joy. Juicy, up.” It’s a virtuoso moment that announces Ijames as not only the play’s protagonist and Hamlet stand-in, is a fat Black queer a major talent but also, rarest of things, a writer who surprises boy who has just seen the ghost of his father, Pap. Pap has returned his audience. to earth for revenge: He claims that his brother, Juicy’s uncle Rev, murdered him in order to marry his wife, Tedra, and visits Here, he tells Harper’s Bazaar about Fat Ham and the play’s Juicy on the afternoon of a cookout celebrating their union to conversations around queerness and hauntings, the nature of heaven, and humor as a gateway to the audience in theater. 44 B A Z A A R

THIS PAGE: LESLIE RIVERA; OPPOSITE PAGE: FROM THE PHILADELPHIA INQUIRER, © 2022 PHILADELPHIA INQUIRER, LLC, ALL RIGHTS RESERVED, USED UNDER LICENSE GROWING UP, THERE WAS A RIGIDITY that I associated with The soliloquies are supposed to be addressed to the audience, masculinity that I never really fit into. And Hamlet has always like they’re commiserating. We treat those soliloquies with been a character that I read as being soft, porous. To me, softness such reverence. When we do that, they lose a little bit of the, is also about being penetrable. For people who move through like, “Okay, so listen, I need some help” aspect, which is really the world that way, they’re always catching those “slings and what’s happening there. When I think about Elizabethan theater, arrows,” to use Shakespeare’s language. But I think the gift is if those plays were blockbusters. Those were the Marvel you can experience those things, they remind you to be softer, movies at the time. So people were screaming back at what was to be even more porous. That’s what Juicy, the main character, happening onstage. finds for himself over the course of the play. I also fully believe that there’s no such thing as the fourth Juicy is haunted by the ghost of his father. A haunting is a wall in theater. I think the fourth wall was invented because at thing that forces you to see something in a way that you wouldn’t some point, there was a director or actor or playwright that was if it weren’t present. In Fat Ham, Juicy would’ve been grudgingly like, “I’m afraid of the audience, so I want them to be quiet and putting up decorations for his mom’s second shotgun wedding not visible.” All of theater history preceding that moment pushes and he would’ve just been miserable. But then the haunting comes against that. Shakespeare’s theater, the Globe, is full-daylight and he can’t rest. He has to reckon with it. I think that’s what acting in the round. There’s no hiding. The Greeks, same thing. happens when you discover that you’re queer. The way I like If you go all the way back to the beginning of storytelling, there’s to think about queerness is everything about me is pushing against no real separation between the people who are experiencing what everybody expects. Everything about me is pushing the story and the people who are telling the story. I want my against “what should be.” And that’s exactly what a haunting is. plays to constantly make that more central in the practice of Being a queer person in the world, you always are forcing people theater, even when we’re inside of a state-of-the-art venue. around you to see things in a way they wouldn’t normally see it. The things I’m trying to say with the play are, what if we One of the things I love about Hamlet is that the ghost is so chose our own pleasure, our own healing over pain, or chose to active. It’s not just a specter that moves through and is a warning be ourselves over what someone else wants us to be? I think I’m or sort of a vibe. In Shakespeare’s Hamlet, the ghost is one that always trying to write toward Black people. I’m talking directly comes to you and says very clearly a thing you need to understand. to people who look like me: marginalized folks who we often Hamlet’s father shows up to whoever he needs to show up to in feel like we have to fit into a thing. I’m saying you don’t have to order to get the message out. But in this play, Juicy’s father comes do that. Just do what you want to do. HB directly to him and only him. It feels ancestral. Legacy and inher- itance are these inescapable things. When I’m gone, I leave things The cast of Philadelphia’s Wilma Theater production of Fat Ham in my wake. Being intentional in this life about what you’re leaving, I think, is heaven. When I’m talking about heaven, I’m talking about what I’m trying to create so that when I’m gone, this place is better. I think about that a lot. MY RELATIONSHIP TO WRITING HUMOROUSLY about very difficult things freed me in a lot of ways. I don’t know that I’ve written any play that’s void of humor. I like things that are sophis- ticated and then fall into something that is very physical and visceral. That’s what makes it funny to me. I always say my sense of humor is a cross between The Three Stooges and the ’90s sitcom Martin. I’m very much informed by Martin Lawrence and Larry, Moe, and Curly. I have this feeling that the physiology of laughter is roughly the same as weeping. There’s a thing the body needs that’s about release and allowance and permission that’s tied up with laughter and with weeping. When you ask people to laugh, when you offer them the circumstances in which they might laugh, it opens something up in them that then you can say something that they might not hear if they weren’t in that state of being receptive, that state of being open. Laughter is a real portal. It opens the possibility of a different kind of understanding and empathy because laughter is contagious; it passes. I like the audience to always know that it might be called upon to listen closer or to be in privacy with a character at any given moment, which is why, throughout the play, Juicy speaks to members of the audience and other characters acknowledge them. The breaking of the fourth wall is in Hamlet as well. 08/22


TOP TO BOTTOM, FROM UPPER LEFT: VICTOR VIRGILE/GAMMA RAPHO VIA GETTY IMAGES; STEPHANE CARDINALE/CORBIS VIA GETTY IMAGES; “WORK IT, GIRL (Give a twirl!) / Do your working on campaign and editorial shoots GREG KESSLER/COURTESY BRANDON MAXWELL; HATNIM LEE; MADISON VOELKEL; COURTESY VAQUERA; JASON LLOYD EVANS thing on the runway,” RuPaul famously with photographers Inez van Lamsweerde exhorted in “Supermodel (You Better Work),” and Vinoodh Matadin, which led to fashion- his hit 1992 ode to the coltish catwalk strides Top to bottom, from upper left: Coach, Ami, show commissions. “I can do a good Janet of Linda, Naomi, Christy, Cindy, and the Brandon Maxwell, Peter Do, Eckhaus Latta, Jackson ‘Rhythm Nation’ 5-6-7-8, but I was rest of the mononymous wonder women of never really choreographing the models. the ’90s. But by the early aughts, much of Vaquera, Harris Reed I was giving more of a movement sugges- that singularity and originality had disap- tion,” he explains. Galloway decided to call peared. It was supplanted by the militaristic himself a “creative movement director,” and stomp of processions of stern-looking young thus movement direction as we now know models who didn’t pose as much as pause it was born. (quickly) at the end of the runway so the camera pit could snap the kind of flat, For Ami’s Fall 2022 show this past standardized slideshow imagery that the January at Paris’s Palais Brongniart, which dawn of digital media demanded. sits above a transport hub, designer Alexandre Mattiussi wanted the models Now, though, the pendulum appears to embody a “subway type of energy,” to have swung back. Personality, perfor- which Galloway had them translate by mance, and theatricality are once again moving with a driven sense of anticipation. being celebrated at fashion shows—and “I said, ‘You’ve got to get to the grocery store. “working it” is experiencing a renaissance They only have that one sandwich that you too. TikTok has something to do with that: want. You have to figure out a way how to The social-media platform du jour has get to that. Because if you don’t get there built an entire memetic universe around with purpose, it’s going to be gone,’ ” movement—in particular, dance—and fashion Galloway recalls. shows have the potential to reach a much wider audience if they go viral there. Plus, The goal of a movement director, accord- those ’90s runway walks have been redis- ing to Child, a former dancer with Michael covered by Gen Z stans who memorialize Clark Company who founded the U.K.’s first them in carefully curated montages. And vogue house in the late ’80s, is to draw out even runway photographers are mixing it models’ personalities. “I don’t want them up, supplementing traditional straight-on walking the generic way that the agents teach, shots by capturing the way clothes move where they stomp quite aggressively,” he from a variety of angles and perspectives. says. “I’m like, ‘Oh my God, you scared me to death, girl! No, love, let’s see you.’ ” While it might seem like anyone with enough swagger can strut, the secret to Child, who has directed shows for a good walk has always been knowing how BodyMap, Bella Freud, and Alexander to move. Enter the movement director. Not McQueen, is now Kim Jones’s go-to move- quite choreographer, though often with a ment director at Fendi. “I have known and background in dance, a movement director admired Les since I was a teenager,” says sits at the intersection of the performing arts Jones. “His skills and ability to make the and fashion, tasked with bringing the ideas at models and performers at ease and alive play in a collection to life and helping today’s are second to none. He knows how to make models put their best foot forward. Pioneers a character.” in the field such as Stephen Galloway and Les Child have made the role an essential Galloway and Child have set the stage part of fashion shows. for a new cohort of movement direc- tors who are helping to reconceive the role “I always thought that the title ‘chore- movement can play in presenting a collec- ographer’ just didn’t seem right,” says tion. During Maison Margiela’s Spring 2020 Los Angeles–based Galloway, who collabo- show, model Leon Dame barreled down the rates with Tom Ford and Brandon Maxwell runway with a zigzagging, hip-dipping strut and danced with Ballet Frankfurt for two that instantly went viral. “People were calling, decades before retiring in 2005. (He also saying, ‘Oh, that was something new,’ ” recalls served as what he half jokingly refers Pat Boguslawski, a Paris-based movement to as “hips and lips coordinator” for the director who has worked with John Galliano Rolling Stones.) at Margiela since 2018. (Boguslawski also got his start in dance, studying at the Debbie In the early 2010s, Galloway started Reynolds Performing Arts Studio in L.A.) ➤ 08/22 47

N EWS “I was like, ‘That was nothing new. Back in ON THE CATWALK, YEAH! something that stops you from scrolling, FROM TOP: JACOPO RAULE/GETTY IMAGES; NIKLAS HALLE’N/AFP VIA GETTY IMAGES; JOHN PHILLIPS/BFC/GETTY IMAGES FOR BFC; COURTESY KHAITE; COURTESY MARNI the day, people were doing more crazy things essentially,” says Emma Chadwick, a New on the runway, and it wasn’t shocking.’ ” From top: Fendi, Saul Nash, York–based Ballet Basel alumna who worked Jawara Alleyne, Khaite, Marni on many of Proenza Schouler’s recent video When audiences are trained to expect a projects and teamed with Coach and Khaite steady pace, altering the speed or energy of this season. “Designers know that people a walk can be arresting. Sigrid Lauren, one want to see clothes moving in a way that’s half of the Brooklyn-based performance-art unexpected.” Chadwick incorporates a broad duo FlucT, created an almost trancelike effect range of gestures into her movement direc- at Peter Do’s Fall 2022 show by challenging tion; the StrangerThings–esque mise-en-scène the models to walk languidly around the at Coach featured a model walking a dog three sides of the open stage and then even and two others on bicycles. Khaite showcased slower down the central runway. models strolling in pace with a spotlight- wielding robotic arm. At Marni in Milan, Brooklyn-based Sharleen Chidiac devised a pattern that saw For London-based designer and move- the models pass through the standing-room- ment director Saul Nash, the two sides of only audience in a dark, cavernous space his practice are one and the same. “When led by flashlight-wielding art-school-student I’m designing, I’m thinking about what the “torchbearers” before stepping onto an day-to-day life of the end wearer might be elevated runway. “It was very intentional that and whether my clothes inhibit movement it was slow and maybe not what you expected or enable freedom,” says Nash, who studied a fashion show to be,” she says. “I directed performance design and practice at Central them to be meditative and openhearted and Saint Martins before pursuing a master’s in just very present and light.” menswear design at the Royal College of Art. He frequently has friends from the For Harris Reed’s Fall 2022 show in contemporary-dance world walk in his shows. London, Simon Donnellon, a Rambert School of Ballet and Contemporary Dance– U ltimately,what many of these movement trained movement director, worked with directors hope to achieve, in addition to the designer to create a tableau vivant of getting your attention, is a sense of whimsy sorts that featured models in exaggerated and joy. “I think one thing that has come gigot-sleeve blouses and fishtail maxiskirts out of the shows since the pandemic is the making big, deliberate arm gestures—very models are acting like they’re happy to be slowly—to a live soundtrack by Sam Smith. there,” says Galloway. “For so long, they were “A big, impactful movement captures my eye conditioned not to care, but if people see they way more than a still image,” says Donnellon. are having fun in the show, it lifts spirits.” “I’ve always prided myself on never doing the traditional quote-unquote ‘runway That’s something Patric DiCaprio, the experience,’ with emotionless faces and a codesigner of New York label Vaquera, can bunch of stomping, but actually showing get behind. Models at the brand’s shows characters living themselves,” adds Reed. perform an intense speedwalk with the torso thrust forward, arms pumping, and That same week in London, designer feet stomping in a seeming parody of the Jawara Alleyne put on an exuberant slashed, plodding, somber ’00s march. Casting safety-pinned ode to punk rebellion. “I got director Walter Pearce of Midland Agency all these models to walk down the catwalk created the walk while modeling for smiling and swearing at people,” says the Hood by Air and has since evolved it in show’s movement director, Yagamoto. “So his behind-the-scenes work on shows for they’ll smile here, and then they’ll change Vaquera and Eckhaus Latta. “Fashion is not their attitude and give people dirty looks that serious, so it’s great when people can on this side and give people middle fingers find humor in it,” DiCaprio says. “Because up here and blow kisses there.” we do too! That’s part of why we’re like, ‘I’m so fierce; let me do my crazy walk.’ It’s T he right movement direction can result funny to exaggerate it to the point that it’s in a more engaged audience, which is almost like a meme.” HB crucial during these highly distractible social-media-dominated times. “It has to be BAZAAR 48

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