D I O R . C O M - 8 0 0 .9 2 9.

D I O R ( 3 4 67 )
D I O R . C O M - 8 0 0 .9 2 9. D I O R ( 3 4 67 )
 THE SPRING ISSUE
Have you ever slurped on an ice-cold popsicle while taking a
piping-hot bath? I have. It’s sublime. And I owe the experience
entirely to Dakota Johnson.
On location for L’OFFICIEL’
L’OFFICIEL’s March 2024 cover, the dry,
quick-witted actor and star of the upcoming Madame Web
was rattling off oddities that make her happy. Noting that
the main notion that seems to bring her joy is, in fact, making
others happy, I assumed the concept of eating a popsicle in the
bath was merely a deadpan Dakota joke… But it’s not a joke.
It’s fabulous.
LETTER
As funny as Johnson is–and as fun as it was to shoot with the
insanely talented photographer Quil Lemons in a chilly old
Los Angeles mansion in December–it was really Johnson’s
genuine voice and specific point of view that made a last-
ing impression. In a wide-ranging conversation with Marisa
Meltzer, Johnson candidly outlines the film industry’s
creative shortsightedness, and passionately doubles down
on her dedication to women’s reproductive rights and sexual
wellbeing. She is a person who knows who she is, and this
fierce individualism lends itself well to a spring runway
season that couldn’t resist an echo of the Come-As-You-Are
sartorial spirit of the ‘90s.
I’ve long held the belief that expressing oneself through
fashion brings joy and fulfi llment. There’s never been a better
time to embrace this return to personal style, and to wear
clothes that feel authentically you. No popsicles required (just
highly recommended).
—Caroline Grosso, L’OFFICIEL USA Editor in Chief
 DAKOTA JOHNSON
PHOTOGRAPHED BY QUIL LEMONS AND STYLED BY REBECCA RAMSEY
MAKEUP: Lisa Storey HAIR: Mark Townsend
ON THE COVER—Top, jacket, shorts, necklace, andshoes GUCCI
ABOVE—Dress and necklace GUCCI

Volume 7, Number 41 | lofficielusa.com | L’OFFICIEL USA | 9 W 57th St New York, NY 10019

 WOMEN DRESSING WOMEN 32
BY Alyssa Kelly, Simone Vertua, Giorgia Cantarini, and Alessandro Vapiana
Female designers are giving new meaning to the term “uniform dressing,”
creating timeless pieces made for and by women.

MYTHICAL MAXIM’S 24
BY Katherine McGrath
The legendary restaurant at the center of Parisian elegance and society
reopens its doors.

FEMME NOIR 36
Black is back, with an ultra-feminine twist.

SING, MUSE 38
BY Baptiste Piégay
Fashion legend Daphne Guinness translates her vision into song.

FRINGE FESTIVAL 28
PHOTOGRAPHY BY Eleonora Adani SELLING SUNSET 40
STYLED BY Fernando Echeverría BY Caroline Grosso
This season’s fringes are sure to please both fashion minimalists and This summer, Santo Collection unveils two new chic cliffside retreats
maximalists. in Santorini.
MADAME JOHNSON 46
BY Marisa Meltzer
PHOTOGRAPHY BY Quil Lemons
STYLED BY Rebecca Ramsey
Dakota Johnson cements her movie stardom in Marvel’s Madame Web,
set in the Spider-Man universe.

SCANDINAVIAN NEW WAVE 98

BY Laure Ambroise
Swedish interior design firm Halleroed has established itself as a visionary
CURRENT MOOD 56 in Scandinavian-inspired luxury retail and personal spaces alike.
PHOTOGRAPHY BY Bohdan Bohdanov
STYLED BY Giulio Martinelli
STILL THE ONES 102
PHOTOGRAPHY BY Alyona Kuzmina
Classic cuts, sultry silhouettes, and vivid textures encounter a modish,
A dash of painterly pastels brings a springlike mood, singular silhouettes,
vampy edge.
and all-season tones.
THE IMMORTAL ‘90S 68
BY Piper McDonald and Tori Nergaard
The decade of simplicity and individuality pulls on the heartstrings of
designers and the public today.

LONDON CALLING 72
PHOTOGRAPHY BY Christopher Fenner
STYLED BY Ben James Adams
It’s a ‘90s party, so come as you are.

The late supermodel Stella Tennant

by Martin Parr.

ON THE MAP 112

BY Jennifer Sauer
Zélika García transformed her dream into reality with Mexican art fair
Zona Maco, which celebrates its 20th anniversary.

TUDOR TWINS 116

KEEPING IT REAL 84 PHOTOGRAPHY BY Jasmina Martiradonna
BY Alex Hawgood STYLED BY Alessandro Ferrari
Photographer Martin Parr’s uncompromising work is commemorated in Whether it’s pared-down staples, opulent prints, or elaborate styling
a new book chronicling his illustrious career. flourishes, this season’s standouts are worthy of a second look.

COOL ROMANTICS 90 L’LOOKBACK 124

PHOTOGRAPHY BY Aaron Lippman BY Piper McDonald & Tori Nergaard
STYLED BY Sachiko Earlene Clyde Shield sunglasses were a dream for pap-magnet celebs. Now, the
The softness of spring ramps up, with just a hint of rebellion. accessory makes an elegant comeback on the spring runways.
 GLOBAL

CHAIRMAN
Dr. Calvin Choi

CHIEF FINANCIAL OFFICER CHIEF CONTENT OFFICER CHIEF REVENUE OFFICER

Xavier Zee Giampietro Baudo Anthony Cenname

GLOBAL SALES GLOBAL EDITORIAL COMMITEE DIGITAL PRODUCT & GRAPHIC

Aileen Soh Giampietro Baudo (Europe) Giulia Gilebbi

Carlotta Tomasoni Caroline Grosso (USA) Babila Cremascoli
Robert D. Eisenhart III Sean K (Asia) Giuseppe de Martino Norante
Mandy Chan

USA

CHAIRMAN
Dr. Calvin Choi

EDITOR IN CHIEF USA OFFICE LEAD

Caroline Grosso Anthony Cenname

DIGITAL EDITOR CONTRIBUTORS

Alyssa Kelly CASTING PHOTOGRAPHY FEATURES FASHION
Lauren Tabach-Bank
Eleonora Adani Laure Ambroise Ben James Adams
FASHION ASSOCIATE PRODUCTION Bohdan Bohdanov Giorgia Cantarini Sachiko Earlene Clyde
Mariana Suplicy Christopher Fenner Alex Hawgood Fernando Echeverría
Trinidad Alamos Alyona Kuzmina Piper McDonald Alessandro Ferrari
Quil Lemons Katherine McGrath Giulio Martinelli
Aaron Lippman Marisa Meltzer Rebecca Ramsey
Jasmina Martiradonna Tori Nergaard
Baptiste Piégay
Jennifer Sauer
Alessandro Vapiana
Simone Vertua
Carrie Wittmer

INTERNATIONAL EDITIONS

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 MYTHICAL

The legendary restaurant at the center of Parisian elegance and society

reopens its doors with a revamped space
and touch-ups from Dior Maison’s artistic director.

There is no restaurant more synonymous with Paris than
Maxim’s, the legendary gastronomic and piano jazz haunt on
the Rue Royale, equidistant between the Madeleine and the
Place de la Concorde. It’s where Brigitte Bardot danced bare-
foot late into the night, where Jane Birkin cheekily slipped
Maxim’s embossed china under her skirt on the way out
following a holiday feast, where top 1960s-era model Antonia
attempted to enter the restaurant with a live panther in tow,
and where society swans, wealthy tycoons, movie stars, and
celebrities mingled over French cuisine. It’s an Art Nouveau
fever dream of mahogany, scarlet, and gold; of sinewy mirrors
and patterned glass ceilings and whiplash statement lamps.
Nearly everyone of note has dined and danced there since its
beginnings in the Belle Epoque, when a young waiter named
Maxime Gaillard opened the bistro in 1893, just six years
after the Eiffel Tower appeared across the Seine. In the cen-
tury and some change since, Maxim’s has survived two world
wars, two global pandemics, the Great Depression, the fall
of fine dining, and eras of different ownership, making it the
most famous restaurant in the world. Following some beauty
sleep, it’s been dusted off and restored to its former Belle
Epoque glory by French hospitality group Paris Society, who
have revitalized it for the 2020s and its 130th anniversary.
Given its closure to the public for the past fourteen years,
it’s fair to say that Maxim’s lost its luster. Maxim’s lost its
three Michelin stars in 1978 and, by the 1980s, the devoted
client-turned-owner French designer Pierre Cardin—who
accepted the former proprietor’s request that he purchase it
to keep it from falling into foreign hands—opened outposts
in far-flung locations like Tokyo, Chicago, and Mexico City.
Nevertheless, the legend lived on, and Maxim’s had enough
cachet to book private events and dinners, and to license its
legendary name to some 200 products, including champagne,
chocolates, ashtrays (obviously), perfume, silk scarves, and
coffee mugs. Maxim’s fell out of fashion, more so a place to
relive the past than to make a moment.
Despite its departure from cultural significance, Maxim’s
inspired a generation of restaurants that have become as
iconic as their regulars, as symbolic to their cities as their
landmarks. Without Maxim’s there would be no Dan Tana’s
in Los Angeles, no Balthazar in Manhattan, no Sketch
in London; no Keith McNally, no Mr. Chow, no Richard
Caring. Hot spots come and go, but Maxim’s has survived,
a bastion of elegance and revelry whose formula has been
imitated the world over, but never with that same cosmic

By KATHERINE McGRATH
24

snap. It’s as timeless as the glistening sun; a crown jewel
amongst diamonds, a sure bet as far as any sure bets go for a
restaurateur to take on.
“I have one essential rule: No terrace? No restaurant,”
proclaims Laurent de Gourcuff, Président Directeur Général
and mastermind behind Paris Society, one of the city’s most
prominent and rapidly rising hospitality groups, who took
charge of Maxim’s in late 2022. “But there is an exception,
and only one exception, which is Maxim’s.” Since taking over
restaurant operations, de Gourcuff’s team has spent nearly 2
million euros in upgrades to bring the Art Nouveau jewel into
the modern age while remaining true to the past.
ABOVE, CLOCKWISE FROM TOP—Maxim’s main entrance on Rue Royale; the Wild Mushroom Tarte;
a bronze Art Nouveau lamp from Pierre Cardin’s collection. Photography by Romain Ricard.
OPPOSITE PAGE, CLOCKWISE FROM TOP LEFT—Maxim’s in a 1980 issue of L’OFFICIEL; Maxim’s in a 1982
issue of L’OFFICIEL; the refreshed ground floor dining room of Maxim’s. Photography by Romain Ricard.
PREVIOUS PAGE—Photography by Romain Ricard.
26
For the hospitality group, which oversees other glamorous
properties in Paris and across Europe, including Girafe,
Gigi, and Laurent, the kitchen was the natural place to start.
Since Maxim’s hadn’t offered daily service aside from pri-
vate events in years, de Gourcuff and his team installed a
new kitchen capable of serving the 160 tables spread across
three floors. An institution as old as Maxim’s has outlived
many of its ghosts and has witnessed countless generations
and eras pass by, but the menu has largely retained the same
classic stalwarts: Tournedos Rossini, a beef tenderloin served
with foie gras, is still on the menu 125 years later, as is Sole
d’Albert, a classic piece of sole braised in vermouth and
flash fried in butter (the dish is cheekily named after Albert
Blaser, Maxim’s legendary maître d’hotel from 1934 until
1959, who knew every regular by name and was up-to-date on
the current affairs so as not to sit two feuding movie stars next
to one another.)
Some dishes, like the soup VGE—so named for 1970s French
President Valéry Giscard d’Éstaing —have been on the menu
for decades, while new arrivals, such as the American lobster
or the scallop carpaccio, fit in handsomely alongside French
gastronomical classics. For the menu refresh, heavier dishes
were scaled back to accommodate a lighter palate, meaning
less meat and fewer sauces in favor of more fish and raw
plates. To entertain the jet set, there’s caviar.
While the food is divine, the goal of the refresh is not to
reclaim its Michelin stars, but rather something more akin
to throwing a fabulous dinner party every night. “The success
of our restaurants is comprised of a million different details:
a fabulous sound design; thoughtful lighting; a beautiful
exterior; a high level of service; an interesting mix of clients
across industries like fashion, design, and politics; and excel-
lent food that is of the times,” says de Gourcuff. “But you’ll
never see something served under a glass bell with vapor, and
a name you don’t recognize.”
These days, waiters in tuxedos and bow ties flit about the
grand room, cocktails in hand or carving the Henri IV poulet
tableside for two, while models in strappy heels and discreet
diamonds perch at their tables over candlelight, perhaps for
the first time, alongside a well-appointed couple who no
doubt have dined at Maxim’s since they first met decades
ago. The dress code, asking guests to dress smartly and men
to wear a jacket, still exists, albeit more as a casual suggestion
(a handful of jackets are on hand at the coat check should a
gentleman be in need), as a way to honor and respect Maxim’s.
And if there ever were a place to dress up for dinner, Maxim’s
would be it.
The restaurant looks largely like it did when Barbra Streisand
celebrated the premiere of Yentl in 1983, or when Salvador
Dalí arrived with a live rabbit he sent to the kitchen to
serve for dinner. Dior Maison’s Artistic Director Cordelia
de Castellane, who worked on the revitalization project, did
make some slight upgrades.
“My only vision was to bring it to life again,” says de Castellane.
“Maxim’s is a very rare and beautiful stone; it needed a bit of
 came there to have fun, to meet, to escape…you really feel it
HOT SPOTS in the atmosphere,” says Alexandre. “It’s very Parisian, but at
the same time you feel transported to another world.”

come and go, BUT “This new chapter for Maxim’s is so exciting for us,” adds

MAXIM’S Solange. “We love to see renewed enthusiasm for a place that
is so dear to our hearts as more people, especially younger

HAS survived.
generations, discover this magical place.”

In honoring the past without reinventing the wheel—save

for a few 21st-century upgrades—Maxim’s has reclaimed
a refresh, but I wouldn’t dare change the decor.” Not that she its former glory and restored its rightful position: as quintes-
would be able to even if she dared—the ornate walls, designed sentially Parisian as the Eiffel Tower, Croque Monsieurs, the
by Louis Marne with their pre-Raphaelite murals, glittering Bouquinistes, Christian Dior, and wisteria in spring.
mirrors, Art Nouveau sconces, and carved mahogany panels,
have been classified and protected as historical monuments
since 1979.

One could call her refresh an amélioration, a surface-level

rejuvenation with subtle touch-ups, to bring the iconic locale
into the contemporary age. Gone are the dusty lampshades,
replaced with small tableside lanterns, along with new custom
tableware from Bernardaud, new throw pillows with punch
florals on the lipstick-red velvet banquets, relaid carpet, and
a new lighting and sound design. On the third floor a winter
garden fumoir allows for the cheeky indoor cigarette under
a magnificent cherry red–and-white stained-glass inverted
chandelier by Louis Comfort Tiffany that de Castellane
paired with a tiger stripe rug underfoot.

De Castellane’s ties to the restaurant are not only profes-

sional, but personal as well: her family members, including
her ancestor Boni de Castellane, a Belle Epoque–era dandy,
were important clients of Maxim’s, and, in 1978, her parents
were wed there. Maxim’s has celebrated many marriages over
the years—there was fashion influencer Camille Charrière
and François Larpin, and this past summer the publishing
scion Alexandre Assouline and wife Solange Assouline
[maiden name Pin], who works in business development at
Lightbox Jewelry. “We actually decided to get married in
Paris because that’s where Maxim’s is,” says Solange.

“Maxim’s is known to have hosted some of the most glamor-

ous nights in Paris, even in the world. Over decades, people
27
 FRINGE FESTIVAL

From delicate threads as soft as a whisper to exuberant beaded tassels

announcing their arrival from a mile away, this season’s
fringes are sure to please both fashion minimalists and maximalists.

Photography ELEONORA ADANI Styled by FERNANDO ECHEVERRÍA

28
 ABOVE, FROM LEFT—Top FILA Sweater ANDREADAMO Skirt PINKO Bracelet and rings SWAROVSKI; Top, shorts, skirt, and belt PRADA
OPPOSITE PAGE—Dress, earrings, ear cuff, choker, and sandals DIOR
PREVIOUS PAGE, LEFT—Dress and ring GUCCI
PREVIOUS PAGE, RIGHT—Dress FERRAGAMO Bracelet SWAROVSKI Sandals JIMMY CHOO
MODEL: Anok SELECT MODEL MANAGEMENT HAIR: Alessia Bonotto BLEND MGMT using BUMBLE AND BUMBLE MAKEUP: Alice Fayre BLEND MGMT using FENTY BEAUTY
CASTING: Viola Borgonovo and Dania Miatello PHOTO ASSISTANT: Michele Vitale STYLIST ASSISTANT: Julia Martinez Blasi

31
 Female designers are giving new meaning to the term
“uniform dressing,” creating
timeless pieces made for and by women.
There’s an innate understanding among women about how
they are expected to exist in the world: their wants, their
needs, and their choices are all up for debate at any given
time, by anyone. Every day, a woman puts on her sarto-
rial armor to face another day in a world built by and for
men—an experience summed up poignantly by America
Ferrera’s character in Greta Gerwig’s Barbie. But there’s
a certain je ne sais quoi of uplifted feminist consciousness
when a woman wears clothes designed by a woman. It’s that
unspoken understanding of shared experience, ever-present
in the back of a female designer’s mind when she creates
garments for other women. How they walk, how they think,
how they live.
32
Today, women are finding power in the capsule collection—a
rebranded way of uniform dressing that prioritizes collect-
ing quality pieces that are representative of the individual.
Unsurprising considering the growing success of designers
like Catherine Holstein at Khaite, a favorite of New York It
girls, or the highly anticipated return of Phoebe Philo, who
built a cult following at Celine with her high-quality basics
and recently launched her eponymous label to rave reviews.
As the internet laments last year’s seemingly endless string of
white European men tapped to take over top design houses,
it’s female designers who are feeding women’s appetites
this spring with resonant designs they can wear again and
again.—Alyssa Kelly

PHOEBE PHILO c
PHOEBE PHILO
Phoebe Philo, 51, studied at Central Saint Martins before join-
ing her friend Stella McCartney at Chloé, first as McCartney’s
assistant and then as creative director from 2001 to 2006. Two
years later, she took over creative direction at Celine on the
condition of being able to transfer the office to London. She
quickly turned the French maison into a cult brand, eschew-
ing extravagant shows in favor of a product-focused approach
and design initiatives like maternity wear. Heralded by indus-
try insiders as the brand to wear, Philo managed to revive the
house, winning numerous awards, including British Designer
of the Year at the British Fashion Awards and CFDA Awards.
When Philo announced her departure from Celine in 2017,
PHOEBE PHILO: Three images from the A12023 collection, portrait of Phoebe Philo by Talia Chetrit.
CHEMENA KAMALI d
CHLOÉ
In October, German designer Chemena Kamali was named
creative director of Chloé, succeeding Gabriela Hearst to helm
the brand founded by Gaby Aghion in 1952. “My heart has
always been of Chloé, from when I walked through the doors
20 years ago,” says Kamali, 41. “Coming back is something
natural and very personal. I am honored to assume this role,
starting from the vision of Gaby Aghion and Karl Lagerfeld,
who defined the history of the maison. I hope to capture the
emotional bond and spirit of our days.” There has always been
a distinctive, but not stereotypical, femininity embedded in
Chloé’s DNA that fits seamlessly into the capsule ward-
robes of women with a similar sensibility. After Lagerfeld
left in 1997, the brand developed a reputation for hiring
female designers to enact its vision: from Martine Sitbon to
Stella McCartney, followed by Philo, Hannah MacGibbon,
flanked by Paulo Melim Andersson, and then Clare Waight
Keller, who pivoted the brand to a more bohemian approach,
and Natacha Ramsay-Levi, who re-established the brand’s
relationship with art before Hearst’s steadfast emphasis on
green ethics. In February 2024, Kamali will show the world
her version of the Chloé woman.—SV

her followers eagerly awaited her next project. Six years later,
she returned to fashion with her eponymous brand, which will
present two seasonless collections per year. Each collection
is conceived as an “Edit,” composed of three drops spaced a
few months apart, with the intention of maintaining a balance
between production and demand. In October, she unveiled
CHLOÉ: Portrait of Chemena Kamali by David Sims, courtesy Chloé.

the first, “Edit A1,” a 150-piece collection of texture-rich,

ready-to-wear pieces, accessories, and jewelry praised for a
mix of sensuality and wearability that suits modern women
in search of a capsule wardrobe featuring the classics with a
cutting edge.—Simone Vertua

33
 MARTINE ROSE d
MARTINE ROSE
Inspired by her Jamaican-British roots and deep interest in
London’s underground music culture, Martine Rose, 43,
is more than just one of the fi rst designers to bring vin-
tage-inspired sportswear and tailoring to the catwalk. First
finding ground in the panorama of menswear with fans like
Kendrick Lamar and Justin Bieber, Rose has come to realize
more feminine collections. She collaborated with Nike for
what is to date the most convincing reinterpretation of the
popular ‘90s shoe: the Nike Shox. In Rose’s hands, this shoe,
which launched in 2022, is now a cult favorite across gender
lines. Her singularly practical aesthetic is informed by a sur-
vey of proportions, silhouettes, and surprising constructions
inspired by the London communities where the designer
grew up. In her work, there is always tension between attrac-
tion and resistance to the male gaze.—Giorgia Cantarini
LOUISE TROTTER c
CARVEN
In 1945, Marie-Louise Carven founded her namesake maison
to make clothes for petite women. She was a pioneer of prêt-à-
porter, marketing, and experiential fashion shows. “She infused
her personality, spirit, and love for nature,” says Louise Trotter,
the first female creative director of Carven since its founder.
Trotter presented her Spring/Summer 2024 collection in Paris
last September, restarting the French fashion house, which
had been dormant since 2018. The British designer began
her career at Whistles before moving to the US, where she
held roles at Calvin Klein, Gap, and Tommy Hilfiger. Back in
London, she landed a position at Lacoste, where she explored
innovative methods of upcycling. Her language is ideal for a
capsule: smart and sober, with a less-is-more quality, focusing
on individual garments and the distinctive women who wear
them. For her inspirations, she cites artist Alison Watt, with

CARVEN: Louise Trotter portrait by Ezra Petronio. Spring/Summer 2024 runway look. MARINE ROSE: Image of Nike x Martine Rose collaboration.
whom she collaborated for the invitation to her first show.—SV

e TORISHÉJU DUMI
TORISHÉJU
In September 2023, Torishéju Dumi—the only Black

Portrait of Martine Rose by Andreas Larsson. Fall/Winter 2023 show.; Courtesy of Torishéju Dumi
designer to present in Paris for Spring/Summer 2024—
closed out Paris Fashion Week at the Shangri-La hotel with
her debut runway show, opened by Naomi Campbell and
closed by Paloma Elsesser. The collection, titled “Fire on the
Mountain,” fuses the native Nigerian and Brazilian wrapping
technique known as lappa with elements of classic British
tailoring. Dumi was originally trained in menswear at the
London College of Fashion; however, this collection—which
Dumi designed on her own in her London home—blends
traditional design techniques into womenswear to introduce
innovative new silhouettes that suit the capsule wardrobes
of all genders. She learned to hone her craft through intern-
ships at Ann Demeulemeester and Céline during the Phoebe
Philo era. Styled by Gabriella Karefa-Johnson and produced
by publicist Lucien Pagès, Dumi’s debut was a clear indicator
of greater things ahead. —AK
34
 CECILIE BAHNSEN d
CECILIE BAHNSEN
Organza, taffeta, puff sleeves, sensuality. Cecilie Bahnsen is
inclined toward romance. “I am very romantic, both in the
creation of my clothes and in life,” Bahnsen says. Creating
silhouettes that are both sculptural and impalpable, the
38-year-old Danish designer deconstructs traditional forms,
juxtaposing contrasting elements and combining an imagina-
tive and opulent design with her signature practicality. “My
interpretation of women’s clothing combines elements of cou-
ture with a sensitivity to everyday life, with clothes suitable
for movement. Because women [want to] feel comfortable,
strong, and independent.” Trained at the Danish Design
School, Bahnsen was a costume designer at the Royal Danish
Theatre. After graduating in 2007, she joined Dior under the
guidance of John Galliano. In 2010, she began collaborating
with Erdem Moralioglu while attending the Royal College of
Art in London. “Details and dedication to craftsmanship are
the inspirations I draw from London and Paris without for-
getting their poetry. But, of course, it’s always merged with
that sense of ease typical of Scandinavian culture.” In Danish
culture, the concept of sharing is very strong. Through mate-
rials and attention to detail, Bahnsen aims to design pieces
that can be shared between friends, or passed down from
mother to daughter.—Alessandro Vapiana

CATHERINE HOLSTEIN c
KHAITE
Impressive lapels, over-cut outerwear, cool colors with splashes
of bold tones, and a focus on the sinuousness of the female
form. At once familiar and new, Khaite’s imaginative collec-
tions are a study in contrasts—not born of a formal habit, but to
serve a practical need. “In New York, every woman has to face
life boldly,” Catherine Holstein says backstage at the Spring/
Summer 2024 show. “It’s a fundamental principle for me in
building my collections.” Where can sensuality and practical-
ity meet? Femininity and formality? This ‘80s-style approach,
CECILIE BAHNSEN: Backstage Spring/Summer 2024. Portrait of Cecile Bahnsen by Josefine Seifert.

which has seen the application of traditionally masculine

lines, codes, and materials in women’s fashion, is no longer
enough. Women want to challenge the system, breaking molds
Campaign image by Cecilie Bahnsen for Asic. KHAITE: Portrait of Catherine Holstein.

and refusing to emulate menswear to gain acceptance. “Right

now, women need a voice that celebrates their strength,”
Holstein says. The success of Khaite gives credence to the idea
that women look for brands that can interpret this idea. The
brand’s first fashion show for Fall/Winter 2019, inspired by
the feminist movement between the 19th and 20th centuries,
combined the cornerstones of Khaite (jeans, sweaters, shirts)
and evening dresses with large puff sleeves, building in a mix
of poplin and knitwear. After working at Gap, Vera Wang,
Maiyet, and The Elder Statesman, Holstein launched Khaite
in 2016, immediately supported by celebrities including Katie
Holmes, Hailey Bieber, Kaia Gerber, and Dakota Johnson.
Unsurprisingly, Holstein was named CFDA Womenswear
Designer of the Year in 2022 and 2023.—AV
35
Photography Omar Macchiavelli.Styled by Davide Pizzotti.
 FROM LEFT—GIVENCHY; Coat, culotte, and shoes FERRAGAMO; DIOR.
OPPOSITE PAGE—Dress, shoes, and earrings, DIOR.

Femme NOIR Black is back, with

Rather than providing easy interpretations of the pervasive
“quiet luxury” aesthetic, houses including Saint Laurent,
Chanel, Alaïa, Givenchy, Prada (with a show set to the
Vertigo soundtrack), and Dior looked to the past. Coats,
dresses, blazers, and separates are nipped tightly at the waist.
an ultra-feminine twist. Soft, feminine draping and sharp cuts provide stark contrast
in the color of night.

In fashion, black has long telegraphed elegance, power, and
independence. The spring runways reinvented the bewitching
absence of light with a ladylike aesthetic, calling back to
elegant, structured 1950s silhouettes and the femmes fatales
of fi lm noir, all of whom had wardrobes to die for.
Perhaps “goth Grace Kelly” is the look your ever-evolving
wardrobe needs. Let L’OFFICIEL’s fashion authorities
inspire your next investment: a blazer that snatches the waist,
paired with a gentle A-line skirt and a deep neckline show-
casing a sliver of skin, may do the trick.

For more than a century,

L’OFFICIEL has been a trusted
fashion authority, and now, our
expertise is coming to your inbox.
Subscribe to our newsletter,
L’AUTHORITY, and expect
expert shopping recommendations
from our editors, all of whom have
spent countless hours behind the
scenes testing and trying on
the latest fashion and accessories.

Jacket DIOR Shirt CAROLINA HERRERA Dress VERSACE

37
 Fashion legend Daphne Guinness translates her vision into song.
Daphne Guinness is many things: model, artist, muse, writer,
singer, and icon. Born to an aristocratic English family, she
spent her early years hobnobbing with artists Salvador Dalí,
David Hockney, and Andy Warhol, for whom her sister
Catherine worked as a personal assistant. As the wife of Greek
shipping magnate Spyros Niarchos (they divorced in 1999),
Guinness lived up to the expectations of a socialite, often
finding herself at the top of best-dressed lists in the ‘90s. But
it wasn’t until meeting legendary magazine editor Isabella
Blow that she developed her taste for the avant-garde, and
became known for her alluring mystique and eccentric style.
In the pre-Pinterest early aughts, Guinness was on every
fashion lover’s vision board; as a muse for designers
Alexander McQueen and Karl Lagerfeld, brands and maga-
zines saw her as an authority on daring taste; highly creative
photographers like Steven Meisel and David LaChapelle
collaborated with her.
Guinness’ tastes have evolved with time, without quelching
her decisive ability to slice through trends and flash to con-
struct looks with perspectives that emphasize creative joy. It’s
the same principle she uses in her music. Never one to follow
the mainstream, Guinness finds inspiration in classical music
and opera, though her work is decidedly contemporary. Her
upcoming fourth album, Sleep (her first album, Optimist in
Black, was released in 2016) is a sensual and romantic record,
somewhere between Goldfrapp and Klaus Nomi. The fi rst
two singles fuse elements of Britpop, techno, and new age
into a catchy club track with an ethereal interlude. Ahead of
the album’s release on March 15, Guinness opens up about
the many disparate inspirations behind it.
What was the process of writing this album like?
L’OFFICIEL:
DAPHNE GUINNESS: Th e melodies were written [during the
pandemic, and] the basics were there, but I wanted to be in
the studio. So we finished it in the summer of 2023, in a
studio in London. There was a 34-person orchestra. It sounds
extravagant, but for me, it was essential that there be real
musicians—that we not resort to [using] artificial intelli-
gence, to which I am totally opposed. These musicians are so
talented and they were so alone during the pandemic that it
was vital that they participate.
Photography: Mark Mullins
L’O: When you write a song, where do you begin?
By BAPTISTE PIÉGAY
DG: Sometimes it’s a phrase that will suggest a key, which 99
percent of the time will develop in minor mode, then modu-
late on major chords, which allows me to explore several eras
in the history of music.
What was the first music you liked as a child?
L’O:
DG: Bach, Beethoven, Mozart, and Schubert. Th en Th e
Doors, the Stones, The Beatles. Before being seduced by the
psychedelic era with a band like Strawberry Alarm Clock.
L’O:Listening to some of Sleep’s songs reminded me of the German
baritone Dietrich Fischer-Dieskau, who recorded what can be
considered the most beautiful versions of his lieder.
DG: Th is is the best! When I warm up my voice, I sing arias, The
Magic Flute, and then some lieder, baroque music. It makes
me so happy. When your only instrument is your voice, you
have to work it like a muscle.
L’O:When writing or recording, do you use visual references?
DG: Not really, but when I sing some notes, I see colors, and
when I close my eyes and visualize some geometric shapes, I
know I’m going in the right direction. I think I have some form
of synaesthesia. When I’m facing the microphone, it’s like I’m
in a dark hallway trying to find a way through a maze.
L’O:There is a spiritual dimension to the album.
DG: Writing music is the closest thing to spiritual life. We live
in such a complex time that I try to get messages out.
L’O:Do you dream of music?
DG: All the time. I often wake up to write a sentence or two.
Sometimes it’s gibberish, but sometimes it allows me to set a
working basis.
L’O:There is a song dedicated to the writer Yukio Mishima. How
did you learn about him?
DG: Between three and five years old, I had a Japanese nanny.
When Mishima committed suicide in 1970, she told me
about it. My father found me sitting on the stairs imitating
the gesture of hara-kiri.
L’O:Does the fashion world influence your writing?
DG: I worked with Alexander McQueen and Isabella Blow,
but, in a way, I was at a distance. I found that this world
lacked humor, which means a lot to me.
39
 SELLING
SUNSET
This summer, Santo Collection
unveils two new chic cliffside
retreats in Santorini, inviting
discerning travelers to a
serene and luxurious haven on
Greece’s most popular island.

Nestled beneath the bustling thoroughfare of Oia’s Nikolaou

Nomikou Street and perched above Ammoudi Bay is Santo
Pure, the first of three gorgeous sister properties by the Santo
Collection offering globetrotters a fresh taste of the Cyclades’
most famous island, Santorini. Set against the backdrop of
the Caldera, Santo Pure invites patrons to savor the island’s
enchanting sunsets from the privacy of their suites or by the
expansive infinity pool, negating the need to compete for a
prime vantage point with the other two million tourists who
visit Santorini each year. Situated west of the majority of the
hotels and resorts in Oia, and removed from the clamor and
commotion of its busy streets, the spacious Santo Pure resort
exudes a serene ambiance that isn’t always guaranteed at a
Santorini hotel.

By CAROLINE GROSSO
41

Just in time for summer 2024, two neighboring Santo
Collection properties will open, each with its own distinct
charm. Santo Mine is an adults-only resort, with 37 individual
suites carved into the Oia cliffs on the site of an old stone mine.
Private pools and Jacuzzis adorn each suite, offering front-row
seats to the mesmerizing panorama of Ammoudi Bay. The
suites are serene and spacious, and, most importantly for the
fashion set, feature ample closet space. The room’s interior
is a minimalist’s dream, evoking a Mediterranean simplicity
with khaki interior hues. Bluetooth-enabled speakers and
synced TVs throughout the suite help guests unwind day or
ABOVE, FROM TOP—Santo Pure’s Honeymoon Junior Suite; view from the suite’s private pool at sunset.
PREVIOUS PAGE—Santo Pure’s Ilios Villa features two bedrooms, private pool, and sauna and
overlooks the Agean Sea.
42
TO WITNESS
THE iconic Santorini
sunset FROM THE
PRIVACY OF one’s
own suite IS AN
undeniable luxury.
night. To be so perfectly positioned to witness the iconic
Santorini sunset from the privacy of one’s own suite is an
undeniable luxury.
For those prioritizing wellness while on holiday, Santo Mine
offers an outdoor gym, a top-notch spa (drawing upon the
accolades and success garnered by Santo Pure’s Anassa
Spa), and a culinary experience centered around fresh
Mediterranean delights (many vegetables and herbs served
are grown organically on the Santo Collection properties).
Exploring the island by foot along the Oia to Fira hike is a
must, although not for the faint of heart. It is a proper hike
and a great workout, so wear sneakers, bring a Stanley water
bottle, pack an energizing snack, some SPF, and avoid the
midday sun. (A pro tip for vacationers interested in lower
heart rate zones: a driver can drop you off in Fira, allowing
a leisurely downhill meander back to the resort, perfectly
timed to reach the Assumption of the Virgin Mary Chapel at
sunset—you’re welcome.)

The third sister property, The Villas by Santo Collection, is

a bastion of serenity and seclusion. Discreetly positioned,
the two four-bedroom villas embrace Cycladic design with
earthy hues, exquisite linens, and Athena Calderone–style
vessels and decor. Each villa boasts a notably expansive pool,
surrounded by native plants swaying in the coastal breeze.
A stay at The Villas unlocks exclusive access to a personal
concierge service, facilitating arrangements for private chefs
and mixologists, spa services, and bespoke yacht and heli-
copter excursions.

While tearing oneself away from the relaxing allure of The

Villas may prove challenging, the most enchanting Santorini
experiences often unfold upon its crystalline waters. The con-
cierge can arrange a driver who will (skillfully, and yet, rather
hilariously) drive backwards down the side of a cliff to deposit
guests at the base of the gorgeous Ammoudi Bay in mere min-
utes. Here, one can meet their boat charter at the quaint port,
or tuck around the corner of the cliff to test out the best-loved
swimming hole. As the day concludes, Ammoudi Fish Tavern
ABOVE—The earthy interiors of The Villas by Santo Collection, opening in 2024.
beckons, where fresh Greek flavors and ever-flowing wine BELOW, CLOCKWISE FROM LEFT—The Santo Mine Cave Junior Suite at sunset; a lookout point
harmonize with yet another mesmerizing Santorini sunset. along the Oia to Fira hike; the quaint port at Ammoudi Bay, Getty Images.

43
Dakota Johnson, L’OFFICIEL’s March 2024 global cover star, is a refreshing
breath of authenticity. The star of the upcoming Marvel spinoff Madame Web
speaks her mind to writer Marisa Meltzer, revealing a passion for her industry
and women’s rights; her depth of feeling and intellect runs well beyond the
memefied clips, birthday party gossip, and yes, her stunning locks. Johnson
wears the inaugural collection by Gucci’s new Creative Director, Sabato de
Sarno. Thanks in part to de Sarno’s buzzy debut (hot pants and all!) the
reincarnated 1990s have reached a fever pitch. In this issue, from Johnson’s
candid interview to what’s coming down the runways, Nirvana’s legendary
phrase “Come As You Are” is top of mind as we enter spring.

Today, the individualism and glamorous realism of the grunge decade is a

rebellion against the constant churn of TikTok cores, argue Piper McDonald
and Tori Nergaard in “The Immortal ‘90s” (page 68). Instead of chasing the
core du jour, this spring’s focus is, thrillingly, a rebirth of personal style, as seen
in “London Calling” (page 72), and “Current Mood” (page 56). Showing
up as one’s true unfiltered self is the main objective. (And incidentally, the
original minimalists would like to reclaim the concept of quiet luxury that
social media stole and twisted beyond recognition, thank you very much.)

This spring, the Mexico City art fair Zélika García founded, Zona
Maco, celebrates its 20th anniversary. García’s unabashed personal style,
characterized by bold hues and unexpected prints, is indicative not only
of her lively personality but also of the passion she pours into her work.
Documentary photographer Martin Parr, renowned for revealing the
absurdities of daily life in the United Kingdom, unveils his first book
dedicated entirely to his fashion work, inspiring a new generation of image-
makers to capture the world around them.

Though fashion is a powerful tool of self-expression and a bracing reflection

of the current mood, ultimately, it should make us feel good. This season,
we’re heading toward the light, opting for airy fabrics, ethereal layers, and
soothing buttery hues. It’s the best way we can think of to choose joy.

45
 MADA ME
Known for bangs, candor, and work with auteurs like
Luca Guadagnino, Dakota Johnson cements her movie stardom in
Marvel’s Madame Web, set in the Spider-Man universe.

By MARISA MELTZER Photography QUIL LEMONS Styled by REBECCA RAMSEY

47
You may think you have a handle on Dakota Johnson. Perhaps
you think of her as the Stanford student who confidently wins
a charisma battle with Justin Timberlake in David Fincher’s
The Social Network, or as the humble, blunt-banged bookworm
Anastasia Steele who discovers BDSM in the Fifty Shades of
Grey trilogy. She’s also an indie film powerhouse: muse to
director Luca Guadagnino in A Bigger Splash and Suspiria,
and unforgettable as an overwhelmed mother in Maggie
Gyllenhaal’s acclaimed adaptation of Elena Ferrante’s The Lost
Daughter. More recently, she starred in Gen Z wunderkind
Cooper Raiff’s Cha Cha Real Smooth, which was produced by
Johnson and Ro Donnelly’s TeaTime Pictures. TeaTime isn’t
Johnson’s only business endeavor: She’s also an investor in
and serves as co-creative director for Maude, a sexual well-
ness brand known for its simply designed, powerful vibrators,
which the brand shortens to vibe.
Or maybe you think of Johnson as the Queen of Sarcasm,
with her quips about sleeping 14 hours a day, her lies about
limes, or her chilling interview with Ellen DeGeneres about
an invitation to her birthday party, which set the internet on
fire in 2019. Movie stars are rare to come by in Hollywood’s
modern age, but Johnson, who comes from a Hollywood
family (her mother is Melanie Griffith and her dad is Don
Johnson), has the energy, the taste, the versatility, the brutal
honesty, and the dry wit of an old Hollywood icon such as
Katharine Hepburn.
Marisa Meltzer spoke with Johnson to discuss the upcom-
ing Madame Web, which, for those of you not fully fluent in
Marvel, is a standalone origin story that takes place within
the Spider-Man Universe. Johnson plays Cassandra Webb,
a New York City paramedic who might have clairvoyant
abilities and is reckoning with her past. The psychological
thriller also features Sydney Sweeney, Mike Epps, Emma
Roberts, and Adam Scott.
Read on to hear about Johnson’s inaugural Marvel moment,
her personal superpowers, a rant about the cowardly entertain-
ment industry, and her thoughts on the state of sex education
in America.
OPPOSITE PAGE—Dress GUCCI
PREVIOUS PAGE—Jacket GUCCI
MARISA MELTZER: I’ve heard you like to eat a popsicle while taking
a bath.
DAKOTA JOHNSON:Have you done that? It’s a fabulous activity. A
popsicle and a hot bath is a sensational experience.
MM: No, but now I need to try it. Let’s talk about Madame Web.
How did you end up involved in it? Were you like, I want to be part
of a superhero franchise, and now’s the time?
DJ: I’m always open to anything. I don’t discriminate against
movie genres when it comes to how I choose things or what
I do. I heard that this was going to be made, and it was
interesting to me that the main character’s superpower is
her mind, and that she is a woman. That is something that
I can really get behind. That’s very real to me, and it’s really
powerful and sexy.
MM: Wait, can you elaborate on that?
DJ: Well, I think that the minds of women are incredibly
powerful, so I think that it’s a more relatable superhero. It is
more of a psychological thriller. This film is a really fabulous
departure for Marvel, because sometimes it’s amazing to have
these other universes and galaxies doing unrealistic things in
an unrealistic place. That can be escapism and really enter-
taining. Before Madame Web becomes Madame Web, she’s
a paramedic and she is on the front lines; she is an everyday
hero. So I just thought it was different. And I had never done
anything like that.
MM: How do you decide what parts you’re going to do? Are there direc-
tors that you want to work with? Do you think you’ll work with
Luca Guadagnino again?
DJ: Absolutely. We’ve talked about a couple of things. But yes,
for certain, just the right thing has to come along.
MM: With your production company TeaTime, it seems like you’re tak-
ing on really disparate projects. How do you decide who to work with
or what you’re working on, and is there a throughline that you see?
DJ: We are starting to see a throughline. We don’t have a
mandate or anything. I guess the constant, for me, is that all
of our movies and shows have really powerful females at the
center. They’re very intricate. They’re very detailed. They’re
very nuanced.
49
 “I’M ALWAYS
open to anything.
I DON’T
DISCRIMINATE
AGAINST
movie genres.”
Jacket and ring GUCCI
 “I AM DISCOVERING
THAT IT’S REALLY
FUCKING BLEAK IN
THIS INDUSTRY. IT
IS majorly disheartening.”
MM: Do you have to develop your own projects if you want those kinds
of characters? Is there just not enough of them around, or do you just
like that side of production?
DJ: I am discovering that it’s really fucking bleak in this indus-
try. It is majorly disheartening. The people who run streaming
platforms don’t trust creative people or artists to know what’s
going to work, and that is just going to make us implode. It’s
really heartbreaking. It’s just fucking so hard. It’s so hard to
get anything made. All of the stuff I’m interested in mak-
ing is really different, and it’s unique and it’s very forward
in whatever it is. We made a movie called Daddio that was
sold at Telluride to Sony Classics, which was amazing, but
it took a lot of fighting to get that made. People are just so
afraid, and I’m like, why? What’s going to happen if you do
something brave? It just feels like nobody knows what to do
and everyone’s afraid. That’s what it feels like. Everyone who
makes decisions is afraid. They want to do the safe thing, and
the safe thing is really boring.
MM: What are you working on next?
DJ: I’m going to make a little movie at the top of the year
[2024] with TeaTime. It is about grief. It’s a tricky plot to
outline, so I won’t even try, but it’s about a woman handling
grief and how she does it in a specific way.
MM: How was your strike [SAG-AFTRA strike of July–
November 2023]? What did you do?
DJ: Had an existential crisis.
MM: Okay.
DJ: I mean, I didn’t shoot anything, but I was working on
production stuff and TeaTime stuff. I was kind of all over the
place. I was in Japan. I was in LA. I was in Europe.
MM: You were quoted about sleeping 14 hours. I’m a terrible insom-
niac, so my dream would be to sleep even seven hours unbroken. Do
you want to set the record straight? How much do you sleep?
DJ: I said I could easily sleep 14 hours. I didn’t say that I
OPPOSITE PAGE—Coat, shorts, and shoes GUCCI
52
sleep 14 hours every night. I have a job. There’s no way that
I could do my job and do that. So clearly something is amiss
with that. I do love sleeping, but I didn’t say that. I think
I’m beginning to understand that sarcasm doesn’t translate
to journalists these days, or embellishment. I just have to be
more literal, I guess.
MM: I also think most actors are not, well… maybe they’re funny
privately, but they’re not very funny or dry or sarcastic people for the
most part, at least when you’re interviewing them. So maybe you’re–
DJ: Terrified of what happens to me all the time? But they
learn and I don’t. [Laughs.]
MM: You just can’t help yourself. Your personality just shines through.
DJ: I’m dramatic. I’m an actress. I don’t know.
MM: There’s a special place in heaven for you being on the Ellen show
and talking about your birthday. It was a really winning moment.
DJ: It will haunt me.
MM: You have worked for reproductive rights. Things have gotten
dark in our country. Do you see any hope?
DJ: I mean, we have gone completely backwards in terms of
reproductive rights, women’s equality, and women’s rights.
It is so mind-bending. I think it’s hard to articulate because
when Roe v. Wade was overturned, I think everyone thought,
okay, well, this is insane, and it’ll be rectified quickly. Of
course, we’re not going to be in this position. Of course this
is not going to be the reality. But then weeks pass and months
pass, and more and more women are denied the healthcare
that they need and they deserve. Women deserve the choices
that are so basic to being a human being on this planet. I
think it’s hard to articulate what I feel and think right now
because I am blown away. I’m blown away, and I find it abso-
lutely heartbreaking and terrifying.
MM: You’re also involved with Maude, the sexual wellness company.
DJ: My agency at the time linked me with Éva [Goicochea],
who’s the founder of Maude, because I think they thought
 “I’M
DRAMATIC.
I’M AN
ACTRESS.
I don’t know.”

that we would get along and also that we had similar inter-
ests and passions, and it’s been really amazing. I came on as
co-creative director, and I’ve learned so much from her. It’s
also really cool and really important to be a part of a company
for which I not only love the products, and they’re beautiful,
but they’re also affordable and they’re quality, and they’re
genuinely geared towards wellness. I just love the idea of
more people being comfortable with sexual wellness.

MM: How did you get your sexual education? Was it through school?
DJ: We had a sex ed class in school in sixth grade. I went to
school all over the place.

MM: Was it weird having to constantly move around and be the

new kid?
DJ: I didn’t find it weird because it was what was normal to

me, so I didn’t have anything else to compare it to. [If I didn’t

move around] I probably would’ve had different, stronger
traits like time management or lifelong friendships. I trav-
eled with my brother and it just was what it was. We were on
location. If my mom was working somewhere, we were there,
and we traveled with a tutor and he and I would do school
together.

MM: Do you have a superpower?

DJ: If I had a superpower, it would come up immediately. I’d

know exactly what it was.

MM: That’s true. Madame Web doesn’t need to think about it.
DJ: Yeah. I’d be like, “Well, actually, thanks for asking. I
can fly.”

MM: Great. I’ll call the Daily Mail.

RIGHT, FROM TOP—Dress and ring (right index and ring fingers) GUCCI Ring (left ring finger)
TALENT’S OWN; Dress and necklace GUCCI
OPPOSITE PAGE—Top, shorts, necklace, andshoes GUCCI
HAIR:Mark Townsend MAKEUP: Lisa Storey MANICURE: Ashlie Johnson
CREATIVE CONSULTANT: Mariana Suplicy PRODUCTION: McKenna Matus
PHOTO ASSISTANTS: Evadne Gonzalez and Alex Kennedy STYLIST ASSISTANT: Kat Cook
LOCATION: The Paramour Estate
 Classic cuts, sultry
silhouettes, and vivid
textures encounter
a modish, vampy edge.
Photography BOHDAN BOHDANOV
Styled by GIULIO MARTINELLI

57
 Top, skirt, and earring FERRAGAMO Shoes MAISON MARGIELA
OPPOSITE PAGE—Top, dress, and beanie ISSEY MIYAKE
PREVIOUS PAGE, LEFT—Top and skirt BOTTEGA VENETA
PREVIOUS PAGE, RIGHT—Dress and skirt BALENCIAGA Earrings GIVENCHY

58
 Dress and cape GIORGIO ARMANI Boots BALENCIAGA
ring GIVENCHY Boots BALENCIAGA
OPPOSITE PAGE—Dress, gloves, earrings, and

60
61
62
 Top, skirt, and culotte N°21 BY ALESSANDRO DELL’ACQUA Gloves PORSELLI
OPPOSITE PAGE—Dress and gloves FENDI Veil N°21 BY ALESSANDRO DELL’ACQUA Boots BALENCIAGA

63
 Top, skirt, gloves, tights, and belt MAISON MARGIELA
OPPOSITE PAGE—Dress VALENTINO

64
65
66
 Dress SPORTMAX Earring FERRAGAMO
OPPOSITE PAGE—Jacket, shorts, skirt, and belt PRADA
MODEL: Brooke Gabel TANK HAIR: Andrea Missiti JULIAN WATSON using BUMBLE AND BUMBLE
MAKEUP: Simone Gammino JULIAN WATSON using BOBBI BROWN
MANICURE: Samyra Magalhaes MKS CASTING: Vittorio Vanzulli MKS PRODUCTION: Andrea Reis MKS
LIGHTS ASSISTANT: Stefano Garay Tapia STYLIST ASSISTANT: Fernando Echeverría

67
 The decade of simplicity and
individuality pulls on the heartstrings of
designers and the public today.
By PIPER McDONALD AND TORI NERGAARD

69
 Different eras always cycle through the runways, but lately,
one epoch has been an eternal source of inspiration for
designers: the 1990s. Though not even halfway through the
current decade, today’s trends are a by-product of notable
designers and collections from the ‘90s, including Calvin
Klein minimalism, grunge by Marc Jacobs for Perry Ellis,
and the sleek sexiness of Tom Ford’s Gucci. Every fashion
era returns for its moment in the sun, but ‘90s minimalism
endures due to nostalgic longing, a renewed interest in indi-
viduality, and an increasingly intimate relationship between
fashion and celebrity.
Plagued by an economic recession, the political landscape
of the early ‘90s deeply influenced style. The start of the
decade was marked by two distinct visions of fashion,
both a reaction to the cultural and stylistic excessiveness
of the ‘80s. The fi rst was grunge, a trend that developed
from young consumers’ generally apathetic-at-best and
antagonistic-at-worst attitude toward economic and social
inequality. Ultimately, the trend’s lingering hypocrisy led
to its downfall. Colleen Hill, Curator of Costume and
Accessories at Th e Museum at FIT writes in her 2021
book Reinvention and Restlessness: Fashion in the Nineties,
“Criticisms of the high-priced, grunge-influenced designs
by [Marc] Jacobs and others often centered on the fact
ABOVE—A 1996 L’OFFICIEL editorial sums up the new feeling: What we wear, from the chic
minimal silhouettes of Jil Sander to a newfound sensuality at Tom Ford’s Gucci.
OPPOSITE PAGE—The allure and ease of a 1997 Calvin Klein look from L’OFFICIEL’s archive.
PREVIOUS PAGE—1995 was the year that a switch flipped. This trend story in the L’OFFICIEL archive,
from 1995, shows how the style swung in the minimalist direction, with a dose of sexiness,
on the most important runways of the day.
70
that this was a look that could be crafted from secondhand
clothing…, or in a variety of much lower-priced iterations.”
Memorable but fleeting, grunge was overtaken by minimal-
ism. As Hill notes in her book, “Although fantasy in fashion
is inarguably important, so, too, is clothing that has a place
in everyday life. Th is was especially significant during the
1990s, as fashion was coming off a fl ight of fancy that had left
the average woman wondering where she (and her wardrobe)
fit in.” Inspired by easy silhouettes for the modern woman,
brands like Prada, Helmut Lang, and Jil Sander used mate-
rial, shape, and color in new, practical ways that could attract
a larger public at a time when consumer spending habits were
down. Notably, Miuccia Prada’s nylon backpack became an
early icon of the decade, coveted for its simplicity and dura-
bility. The trajectory of the early ‘90s seemingly mirrors the
2020s. The 2020s has experienced recessions, surging infla-
tion, and a global pandemic, all of which rocked the ability
and desire to spend. Following in the footsteps of Gen X,
Millennials and Gen Z seek inspiration from an era that
encouraged personality within minimalism.
By the late ‘90s, the West experienced an economic upswing
that changed attitudes and access. At Gucci, Tom Ford
ushered in a post-recession return to luxury. This wasn’t the
in-your-face luxury of the ‘80s, but a pared-down perspective
offering sleek tailoring, bold embellishments, and sensuous
fabrics. Cemented by trendsetters like Carolyn Bessette-
Kennedy, Carine Roitfeld, and Gwyneth Paltrow, minimal-
ism found its footing and became associated with the “chic
 THIS WASN’T THE IN-YOUR-FACE
LUXURY OF THE ‘80s, BUT A
pared-down perspective OFFERING
SLEEK tailoring, BOLD embellishments,
AND SENSUOUS fabrics.
city girl.” While economic acceleration has yet to arrive in
the 2020s, the industry’s reflection of the ‘90s demonstrates
a desire for a similar shift in positivity and prosperity after
years of existential dread and trends that come and go within
months, weeks, even days.
“Core” fatigue has undoubtedly led to a yearning for simpler
times and simpler fashion. For those blessedly unfamiliar, a
“core” trend is a niche trend that proliferates through social
media. Although difficult to trace exactly where or when
“core” was coined, “normcore,” a gender-neutral aesthetic that
unironically celebrated plain clothing, was introduced in the
early 2010s. With the rise of TikTok, cores returned with full
force. “Core” trends (Barbiecore, fairycore, balletcore, cot-
tagecore) revolve around a vibe and encompass not just fash-
ion, but lifestyle. A renewed interest in the unaffected fashion
of the 1990s is in part a reaction to an impossible-to-follow
trend cycle. Now, some designers are beginning to create
pieces that transcend core cycles. Similarly, some consumers
are beginning to invest in personal style and sustainability
as opposed to trends with a two-week shelf life. By reaching
back to the ‘90s, designers quench that thirst and deliver a
nostalgic vision that’s eternal.
The ‘90s were rife with familiar faces embedded in culture, with
the “Supers” marking a new era and forever changing the rela-
tionship between fashion and celebrity. Until the rise of Cindy
Crawford, Naomi Campbell, Christy Turlington, Kate Moss,
Claudia Schiffer, Tyra Banks, and Linda Evangelista, the
clothes were more famous than the models. The Supers brought
personality to the fashion industry, encouraging individuality.
Their devil-may-care attitudes and distinct personalities shone
brightly on runways, in pap photos, and on the cover of Vogue.
Countless photos featured off-duty models wearing their takes
on trends, which have become pop culture iconography. This
made celebrity endorsements commonplace, which, in turn,
led to both red carpet and everyday looks becoming quite the
opposite: highly stylized, requiring a netizen of professionals to
manufacture the perfect looks of today’s celebrity ambassadors
like Zendaya, Rihanna, Kim Kardashian, and Hailey Bieber.
We may be seeing a return though to the undone ‘90s aesthetic
as a rejection of the cultivated Instagram image.
Evoking the ‘90s does not require a designer to pigeonhole
their creativity into one overarching point of view. The
decade’s fashion was at once practical and romantic, simple
and detailed, thoughtful and effortless. At Gucci, creative
director Sabato de Sarno explores and rehashes minimalist
themes and sexy silhouettes in a recreation of Ford’s signa-
ture style. In doing so, de Sarno—a ‘90s kid through and
through—established a departure from Alessandro Michele’s
maximalist vision. And Miu Miu delivered on muted palettes
with careful attention to the materiality.
The enduring cultural appeal of the ‘90s is a clear indica-
tor that culture and fashion mutually influence each other.
The ‘90s were an aspirational decade. A struggling economy
became a booming one, leading to a postmodern society that
welcomed singularity, resulting in iconic clothing, art, and
imagery. For many, it felt like the last great frontier before
the millennium, a decade mired in uncertainty and fear but
longing for hope. It is no wonder, then, that the designs from
this period consistently pull on the heartstrings of designers–
and consumers–today.
71
 The best approach to going out?
Head-to-toe leather, lace, or denim, in
splashy colors and sleek textures.
It’s a ‘90s party, so come as you are.

Photography CHRISTOPHER FENNER Styled by BEN JAMES ADAMS

73
 Dress PRADA
OPPOSITE PAGE—Dress and shoes FERRAGAMO
PREVIOUS PAGE—Dress CHLOÉ

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Dress STELLA McCARTNEY Bag CHRISTIAN LOUBOUTIN Earrings, necklace, and ring SWAROVSKI
OPPOSITE PAGE—Jacket, shorts, and bag LOUIS VUITTON

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Jacket and shorts ALEXANDER McQUEEN
 Itemtk BRANDTK Itemtk BRANDTK
Top and skirt RICHARD QUINN Boots CHRISTIAN
OPPOSITE LOUBOUTIN
PAGE—Itemtk BRANDTK Itemtk FABERGÈ
Necklace BRANDTK Earrings FABERGÈ x GEMFIELDS
OPPOSITE PAGE—Dress and boots DAVID KOMA Earrings and necklace FABERGÈ x JAMES GANH

81
 Dress and gloves LANVIN
OPPOSITE PAGE—Dress, blazer, and boots DION LEE Earrings and choker SWAROVSKI
PHOTOGRAPHY: Christopher Fenner RAY BROWN REPRESENTS MODEL: India Grove WILHELMINA HAIR: Davide Barberi A-FRAME AGENCY MAKEUP: Emma Miles CAREN using SURRATT BEAUTY
MANICURE: Julie Luong MOVEMENT: Andrea Carrucciu PHOTO ASSISTANTS: Arielle Robins and Lily Hobman MAKEUP ASSISTANT: Wenhsin Lee

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 Photographer Martin Parr’s uncompromising work,
which spans both the fashion world and
“real life” in Britain, is commemorated in a new book
chronicling his illustrious career.

For over half a century, the celebrated British documentary
photographer Martin Parr’s unflinching images of Thatcher-era
lingerie parties, New Brighton Beach-goers lounging near
piles of litter, and kitschy Manchester malls have chronicled
the absurdities of Britain’s consumer culture with humor and
an idiosyncratic gaze.
Now, a new book offers an up-close look at Parr’s own
commercial instincts. Fashion Faux Parr, to be published
by Phaidon in April, is the first retrospective dedicated
to Parr’s fashion oeuvre, spanning three decades of Vogue
photoshoots and collaborations with brands like Gucci,
Balenciaga, and Stüssy.
There are many ways to read the book’s punny title. Is fashion
photography a crass side hustle for “faux Parr,” as opposed to
the “real” Parr’s award-winning, documentary-style images?
Or is it that his gritty, sardonic photos—models on the loo
for Numero Tokyo, Urban Outfitters necklaces strewn atop
dentures at a stall in a Marrakech souk, wrinkled French
sunbathers decked out in Gucci—are seen as faux pas in
the glitzy, make-believe world of fashion? Maybe the title
refers to Parr’s choice to include professional hiccups, like a
scrapped 2023 Balenciaga campaign, or a portfolio of emerg-
ing London designers that Parr shot “for a small magazine
that didn’t pay the bill,” the introduction notes, “so the
pictures never saw the light of day”?

By ALEX HAWGOOD
84
86
“You’re welcome to view it however you like, really,” Parr says,
a wry smile creasing his face. But don’t read too much into it.
“Fashion is just an extension of my own work. I’m using the
same styles and the same techniques. That’s why when you look
through the book you can tell it’s pictures taken by me because,
hopefully, that style and that language and that palette come
through.” The “one difference,” he notes, “is that I’m usually
setting things up for photo shoots, whereas within my own
work I’m just taking things as they really are out there.”
The book’s 250 photographs mix the mundane with the mag-
nificent, offering a seriously unserious view of the fashion
diaspora. There are portraits of Dame Vivienne Westwood
standing in a dingy public restroom wearing a T-shirt
emblazoned with the words Climate Revolution and
see-through pants; model Stella Tennant collecting flower
cuttings in Dunbar, Scotland; and designer Paul Smith sit-
ting at his cluttered desk in London surrounded by stacks of
books, fabric scraps, toys, and knick-knacks. A high-watt-
age snap of Anna Wintour perched front row during Milan
Fashion Week is sandwiched between grocery-store fashion
shoots and models mugging for the camera at a gas station
in Arles, France. “There’s mischief there—I think that’s the
best word to use—that is maybe subversive, like going into
ABOVE—A spread from Fashion Faux Parr featuring backstage photos taken during fashion weeks
in the late ‘90s and early 2000s.
OPPOSITE PAGE—Vivienne Westwood, London, 2012.
PREVIOUS PAGE, FROM TOP—Runway looks in an art museum for Vogue, New York, USA, 2019;
Katz’s Delicatessen, New York, 2018.
a dental surgery,” Parr said. He was referring to one of the
book’s highlights: a 2004 shoot for the magazine Kid’s Wear
that took place at a German dentist’s office during an actual
young patient’s teeth cleaning. “The surreal aspect can really
turn a photo into a picture that you have to look at twice to
try to work out what’s going on,” he says.
A fearless and raw approach to photography has—perhaps
unexpectedly—made Parr, a 71-year-old Commander of the
Order of the British Empire (CBE), a designer darling. For
a newspaper-printed magazine promoting Henry Holland’s
Spring/Summer 2016 men’s collection, Parr photographed
a scarf emblazoned with “Martin Fucking Parr” inside
an ice-cream shop in the Greater Manchester town of
Ramsbottom. “It’s a very rare scarf, actually. People ask me
about it all the time,” Parr says. “I don’t know how many
were produced, but it seemed to have sold out pretty quickly.
I’ve got one in our archive.”
Last year, he photographed Simon Porte Jacquemus’s extrav-
agant waterfront runway show in Versailles for Le Chouchou,
a limited-edition book published by the label, featuring Parr’s
images of guests boarding white rowboats on the park’s
Grand Canal. When Parr and Jacquemus hosted a book
signing at the Jacquemus flagship on Avenue Montaigne in
Paris, Parr was treated like a fashion rock star. “We signed
and dedicated 500 books in three hours and 20 minutes,” he
says. So beloved is Parr among the fashion intelligentsia, in
87
 “THERE’S of today’s fashion documentarians, including Jack Davison,
Harley Weir, and Sam Youkilis. “Fashion is about solving
a problem: How do you make an interesting picture with

mischief there—I a certain accessory or piece of clothing?” Parr says. “And

documentary photographers—we’re people that shoot with
ideas. So people want to use the ideas that we have and apply

THINK them to fashion problems.”

One of Parr’s earliest fashion forays was in 1999, when the

THAT’S THE Italian magazine Amica flew him to Rimini, Fellini’s home-
town on Italy’s northeastern coast, for a photo shoot using the

BEST WORD seaside resort’s nightclubs and shallow waters as a backdrop.

Instead, Parr photographed models in sequined gowns on
the beach as local beefcakes flexed in Speedos, and elderly

TO USE.”
fact, that his name has become its own slang. While he was
Creative Director of Gucci, Alessandro Michele once titled a
watch campaign shoot “Time to Parr.”
Along with the work of equally revered fashion photogra-
pher Juergen Teller, the “dirty realism” of Parr’s images
helped pave the way for the unguarded lenses used by many
ladies in sun hats wandered into the frame. The editorial felt
like a natural extension of Parr’s candid shots, which often
serve as windows into how style steers identity in real-life
Britons, whether it’s a spectacle of silk and brocade at a
Sikh wedding, half-naked hen-party revelers, or a fishwife
wearing a Burberry-style plaid headscarf. Love Cubes, a series
from 1972 documenting couples who share the same taste
in clothes, functions as a time capsule from a bygone era:
women with Farrah Fawcett–style hair in polka-dot flares,
men with bushy sideburns in three-piece suits.

ABOVE—A recent Gucci campaign featured in Fashion Faux Parr. “I think the distinction of what people are wearing is much
OPPOSITE PAGE, FROM TOP—Behind the scenes at the Jaquemus’s Versailles runway show, 2023;
Paul Smith, London, UK, 2016; All photography copyright Martin Parr/Magnum Photos,
more evident in my documentary work than in my fashion
images courtesy of Phaidon. pictures,” Parr reflects. “I keep it real.”
88
89
90
 The softness of spring ramps up, with just a hint of rebellion.

Photography AARON LIPPMAN Styled by SACHIKO EARLENE CLYDE

91
ABOVE—Dress GIVENCHY Earrings FERRAGAMO
belt PRADA
LEFT—Top, jacket, shorts, and
BELOW—Shirt DIOR Shoes FERRAGAMO Socks WOLFORD
OPPOSITE PAGE—Crop top, pants, shoes, and ear cuff LOEWE
PREVIOUS PAGE—Dress GIVENCHY Boots and earrings
FERRAGAMO Cuff LOEWE Rings L. JARDIM STUDIO
 Jacket, shirt, and ring DIOR Shoes FERRAGAMO Necklace CHANEL Socks WOLFORD
OPPOSITE PAGE—Top FERRAGAMO Skirt and shoes BOTTEGA VENETA Necklace and bracelet TIFFANY & CO. Rings L. JARDIM STUDIO

95
 ABOVE, FROM LEFT—Bag FERRAGAMO; Dress GIVENCHY Boots FERRAGAMO
shoes LOUIS VUITTON Earrings COMPLETEDWORKS
OPPOSITE PAGE—Jacket, top, skirt, belt, and
HAIR: Ledora Francis MAKEUP: Micka MODEL: Ana Milojevic HEROES
CASTING: Onell Ednacot SET DESIGN: Jocelyn Cabral LIGHTS ASSISTANT: Jon Tasker STYLIST ASSISTANT: Heidi Cannon

96
 Scandinavian

Swedish interior design firm Halleroed, founded by

Christian and Ruxandra Halleröd, has established
itself as a visionary force in Scandinavian-inspired luxury
retail and personal spaces.

Every artist is shaped, influenced, and inspired by their envi-
ronment. This concept rings particularly true for Christian
and Ruxandra Halleröd, the Stockholm-based design duo
behind the interiors firm Halleroed. The rich forests, lush
lakes, and roaring mountains of Sweden inspire their work
implicitly, as does the country’s history of distinctly minimal-
ist, stylish, and practical interiors.
While attending the Swedish art and craft school Carl
Malmstensskolan, Christian, now 50, learned cabinet
making and furniture design. Throughout his studies, he
continued to travel, discovering the big names in 1990s
fashion—Comme des Garçons, Margiela, and Helmut Lang
among them—and their interiors.
Ruxandra, now 43, split her architecture studies between
Stockholm and Porto while flying everywhere from Moscow
to Los Angeles. She remembers a particular trip to France,
where she was able to visit a Le Corbusier townhouse.
“Despite its very bad state, the ideas were still strong and
timeless,” she says. Fascinated by the lines of contemporary
architecture, she proposed a “post-collective” graduation
project—an urban planning project in Pitesti, her hometown
in Romania, for which she and her partner studied how the
cities of Romania changed during the Communist era, and
what happened when the system collapsed.
“We do not have a specific aesthetic, but we have a way of
thinking and working with customers and projects that, in
the end, is perhaps recognizable as Halleroed,” Ruxandra and
Christian note. “As we work with very different brands, we
try to understand them and find a language that corresponds
to their very specific physical environments. We work with
fewer but more precise elements and materials and try to make
them as visually strong as possible. Maybe it’s a Lutheran way
of thinking that is very Swedish.” It’s all about connection:

By LAURE AMBROISE
98
100
 WE LIKE TO
UNDERSTAND
THE brand OR
person WE WORK
FOR AND BUILD
AN imaginary
physical world
AROUND THEM.
They use materials in the most effective way possible, and pay
close attention to the relationships between every material
they introduce to a space. “We obviously love wood, but we
are always interested in discovering how to use existing mate-
rials in new ways,” Ruxandra says. Examples of Halleroed’s
experimentation with materials include a blue glazed lava
stone reception desk at a New York office, abstract leather
panels, transparent resin fixtures, floor-to-ceiling carpet at create unexpected interiors and provide a pleasant experience
Acne Studios in China, and pink aluminum. “Some say we for the people who will frequent them.”
have an eye for combining colors and materials. We try to
For Halleroed’s partners around the world—Acne Studios
(Stockholm, Paris, Miami, Melbourne, Singapore, Shenzhen,
Shanghai, Nanjing, and Chengdu), L/Uniform (Paris),
Toteme (Shanghai, New York, and London), Byredo (Los
Angeles and Stockholm), Frame (Los Angeles), and Khaite (at
Bergdorf Goodman in New York)—one wonders what they
enjoy most in the exercise of realizing their unique, symbiotic
spaces. “Exploring the same idea in different places requires us
to be more specific about what is important to the brand and
concept. It is also nice to see that everything is not generic, and
that everything is not the same wherever you are. We always
try to avoid being generic; it is boring and commercial and
uninteresting to the client. It’s also interesting to understand
what you want to bring from your roots and what you want to
explore in the country or city where the project takes place.”

As for what’s next, the duo would love to transform a small

hotel or work with Belgian fashion designer Raf Simons.
Every project has an inspiration, but it also has a narrative.
“It can also be called analysis and strategy,” they say. “Or
simply understanding. We like to understand the brand or
person we work for and build an imaginary physical world
around them that consists of an idea or an atmosphere. It’s
more relevant than telling stories. For us, the narrative is
more superficial.”
LEFT—L/Uniform boutique in Paris.
ABOVE—Christian and Ruxandra Halleröd at their offices in Stockholm.
OPPOSITE PAGE, CLOCKWISE FROM TOP—An office in New York; the Acne Studios boutique, Singapore;
the Frame store in Los Angeles.
PREVIOUS PAGE—Acne Studios boutique, Shenzhen. Photos courtesy of Halleroed.

101
102
 the
In a nod to Giorgio Morandi’s light still
lifes, a dash of painterly pastels brings
a springlike mood, singular silhouettes,
and all-season tones.

Photography ALYONA KUZMINA

 Bag LOUIS VUITTON
OPPOSITE PAGE—Bag FERRAGAMO
PREVIOUS PAGE—Bags BOTTEGA VENETA

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 Bag HERMÈS
TOM FORD
OPPOSITE PAGE—Bag

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Bags COACH
 Bag DIOR
OPPOSITE PAGE—Bag LORO PIANA
SET DESIGNER: Catherine Pearson

110
 Zélika García transformed her dream into reality with Mexican
art fair Zona Maco, which celebrates its 20th anniversary.
Building Latin America’s largest, most recognized art fair is
no small endeavor. For founder Zélika García, this achieve-
ment has been 20 years in the making. After studying art at
Mexico’s University of Monterrey, Garcia began her journey
to create Zona Maco with a visionary concept, firm ambition,
and an unwavering belief in success. Though she intended
to become an artist, her life plans changed with a visit to
the Expo Arte Guadalajara art fair in the 1990s. García was
especially affected by that fair’s ability to connect and foster
Mexico’s creative communities. When the event closed per-
manently in 1998, she devised her own take on a Mexican art
fair experience.
García’s initial endeavor, Muestra, evolved into what is
now Zona Maco—expanding from a few dozen booths in
Monterrey to more than 200 galleries with international
reach in Mexico City. The capital boasts a bustling art scene
with geographic ease for international visitors and proximity
to Mexico’s best beaches. Connections made with influential
art world players–including Museo Jumex founder Eugenio
Lopez Alonso–helped García get the first galleries to par-
ticipate in the fair. Others followed, with continued growth
each year. Over the past two decades, García has cultivated a
vast range of artists, collectors, galleries, and art aficionados,
who have all become part of the fair’s success. “Zona Maco
provides a platform in the art space where people can see great
art and connect in a comfortable ambiance. “As Mexican art
has become more international, it has gained greater visibil-
ity,” García tells L’OFFICIEL. “Galleries from all over the
world have spaces in Mexico City, and being at the art fair
makes them part of our community. Despite welcoming
80,000 visitors in five days, it maintains an intimate setting,
making it a truly special experience.”
Marking its 20th anniversary this year, Zona Maco is recog-
nized as a preeminent art world event, held annually the first
week of February at Mexico City’s Centro Citibanamex. With
the fair’s increased global presence and continued expansion,
it branched out into four concurrent events. The fair’s primary
art program, Zona Maco México Arte Contemporáneo,
spans a range of emerging and established galleries, thought-
fully curated to keep offerings fresh and interesting. Other
sections of the fair include Zona Maco Diseño, with jewelry,
furniture, textiles, and decorative objects launched in 2011;
Zona Maco Salón del Anticuario, with antiques launched in
2014; and Zona Maco Foto, with photography launched in
2015. García credits the expansion to Zona Maco’s organic
growth, increased interest from international attendees, a
desire to expose local artists to the international market, and
evolving enthusiasm for Latin American art.

By JENNIFER SAUER
112
 “DESPITE WELCOMING 80,000
YLVLWRUVLQùYHGD\V IT MAINTAINS
AN LQWLPDWHVHWWLQJ..”

114
While Zona Maco has grown in scale, one element remains
constant—the fair’s distinctly warm and welcoming envi-
ronment. Beyond the art itself, a multitude of conversation
programs with art world insiders and parallel activities com-
plement the immersive experience. There’s also, quite vitally,
an emphasis on Mexican culture. Zona Maco has an inviting,
hospitable ambiance, and features a variety of foods and cel-
ebratory drinks, from traditional Mexican fare to global cui-
sine. Offerings include champagne from a Moet & Chandon
Bar and food from Sarde, a seafood-focused restaurant in
Mexico City’s Roma neighborhood run by chef Jacob Harth
and restaurateur Enrique Lascuráin. These surroundings
provide guests and artists with a relaxed atmosphere to con-
nect. García believes that creating accessibility and offering
something for every guest is the best approach to encouraging
engagement with art.

“With changes in the art market, and globalization, Zona

Maco has brought the public closer to art. It has created a
friendly space to get to know art, showing that it is a world
for everyone. A creative environment expands your vision
and ways of looking at things,” García says. “Art was once
seen as unreachable, or only for those with certain means,
but it has become increasingly popular over time. Th is is
partly because events like ours make it more accessible. Art
truly is for everyone. In Mexico, especially in Mexico City,
there are many new galleries, spaces, artists, and collectors.
Santos, and La Paz, with another program planned for spring
2024 across these locations, as well as in the new additions of
Tijuana and Ensenada.

Given these achievements and García’s vast dedication to the

arts, it is no surprise that she was named among Forbes’ list
of the 100 most creative Mexicans in the world. She distin-
guishes herself as a powerful force in the art arena through
her consistent values, keen business acumen, and a penchant
for hard work. “Since the beginning, I have never felt lesser.
Personally, I always need to say what I think, and I never
overpromise,” García says. “That’s the power of being a
woman. It’s not necessarily something you think about—it’s
more about who you are and what you do.”

García’s creative accolades translate into her personal style,

There’s so much attention focused here now. It’s a very special
moment—let’s hope it never ends.”
It is a testament to García’s vision and drive that she devel-
oped Zona Maco into the inspired success it is today. She
continues cultivating Mexico’s arts communities through
another initiative, ABC Art Baja California. This two-month
cultural festival combines art, music, and food to promote
culture throughout Baja California. Last year, the collabo-
rative event hosted its first edition between San José, Todos
ABOVE, LEFT—Francisco Ugarte, “Blue Landscape No. 4,” 2020, Blue tape and oil on paper.
ABOVE, RIGHT—Lucia Vidales, “Bruja,” 2023, Oiland acrylic on canvas.
OPPOSITE PAGE, CLOCKWISE FROM TOP—Magali Lara, “Agua,” 2007, Oil on canvas;
Zélika García at Zona Maco, 2018; Zona Maco, 2023.
PREVIOUS PAGE—Portrait of Zélika García, courtesy of Zona Maco. All photos courtesy of Zona Maco.
which accentuates her upbeat personality with bold colors,
prints, and unexpected combinations (architectural shapes
with pop tones, running the gamut from edgy to feminine),
all with a boho vibe synonymous with Baja. She sees fash-
ion as an opportunity for creative expression. And her true
affi nity for both modes is grounded in a sense of discovery
and connectedness.
“I have always loved fashion, and design is also one of my pas-
sions, so I find that the relationship between art and aesthet-
ics happens very organically. For the fair, there are sponsors
who are fashion brands or are very involved in the fashion
space, and many of these brands also have art collections in
their offices, creating a synergy,” notes García. “In my life,
I can shop on the street or in a luxury store—I just love to
explore. It’s really about personal taste, and when you look
around, you realize that beautiful objects are everywhere.”
115
 TWINS
Whether it’s pared-down staples,
opulent prints, or elaborate VW\OLQJúRXULVKHV
this season’s standouts
are worthy of a second look.
3KRWRJUDSK\JASMINA MARTIRADONNA
Styled by ALESSANDRO FERRARI

116
 LONNEKE: Dress PRADA
OPPOSITE PAGE, FROM LEFT—ILENIA: Jumpsuit ROCHAS Earrings and necklace ARLO HAISEK Shoes SEBAGO
ILARIA: Jacket and shorts ROCHAS Shoes DOLCE & GABBANA Earrings ARLO HAISEK
PREVIOUS PAGE, FROM LEFT—ILARIA: Jacket DOLCE & GABBANA LONNEKE: Jacket GIVENCHY Earrings PANNALU

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120
FROM TOP—ILENIA: Top HERMÈS Earrings PANNALU ILARIA: Top FENDI Earrings PANNALU

121
 pants MIU MIU Necklace ARLO HAISEK
ILENIA: Top, culotte, and
earrings CHANEL
OPPOSITE PAGE—ILARIA: Top, vest, shorts, and
MODELS: Lonneke Van Diepen, Ilaria Gobbato, Ilenia Gobbato LA CORTE DEI MIRACOLI
MAKEUP: Francesca Maffi HAIR: Shinichi Morita ETOILE MANAGEMENT using Previa Haircare SET DESIGNER: Chiara Talacci CASTING: Sofia Michaud
PHOTO ASSISTANT: Federico Scotti MAKEUP ASSISTANT: Jessica Falerno HAIR ASSISTANT: Daniela Verardi STYLIST ASSISTANTS: Silvia Maritato and Giulia Lott

123
 Ever-present in the early aughts, shield sunglasses
were a dream for pap-magnet celebs. Now, the accessory
makes an elegant comeback on the spring runways.
Shield sunglasses are chic and sleek, sporty and fast, and
they’ve always brought a fresh look to fashion. First appear-
ing in the late 1960s via Courrèges, Cardin, and Yves Saint
Laurent, the wide-eyed shades added an athletic dimen-
sion to otherwise preppy, modular ensembles. Originally,
these sunglasses came in various geometric shapes in
gargantuan sizes, sometimes covering the majority of the
wearer’s face. These mega shades evolved alongside fashion
trends over decades, becoming a singular entity at the turn of
the millennium.
Often made from reflective, tinted materials, shield sun-
glasses quickly became an It girl accessory in the early aughts.
The rise of paparazzi culture during this epoch led celebrities
like Paris Hilton and Britney Spears to pair their designer
124
streetwear looks with a huge pair of shades that screamed:
“No pictures, please!”
In part, these shades gained popularity as a reaction to the
minimalist frames that dominated the 1990s, and the trend
cycle has once again retraced its steps in 2024. Although Y2K
has been a reference point for the industry for some time, its
staying power has been cemented by the omnipresence of the
piece on recent runways. Giant shield glasses by designers like
Tory Burch, Louis Vuitton, The Row, and Acne Studios have
been spotted on catwalks as recently as the Spring/Summer
2024 shows. Combining nostalgia with a sporty vibe, these
sunglasses will forever be attention-grabbing pieces of note
for those who (claim they) want to be alone.
—Piper McDonald & Tori Nergaard
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