all women are witches
interview by OLIVIER ZAHM
portrait by CEDRIC BUCHET
All personal pictures courtesy of Anjelica Huston
The legendary actress Anjelica Huston is best known for three things: her tumultuous love life, her iconic style, and, obviously, her acting, which in recent times has led her to the grande dame role of the witch. In her new house in Pacific Palisades, we talked about how love, style, and the dark side of femininity have interacted with her frank vision of life.
OLIVIER ZAHM — Let’s speak about style, Anjelica. My first impression is that when we say “Anjelica” in Europe, we of course think about the actress, the chaotic love story with Jack Nicholson, but in the art and fashion worlds, you’re a style icon. And there aren’t so many style icons in America. For example, in the music world, you have Patti Smith. In politics, Angela Davis was remarkable for her political activities and also for her style and attitude.
ANJELICA HUSTON — Gloria Steinem has great style, too. Don’t you think?
OLIVIER ZAHM — Ah, yes. You’re right. Sofia Coppola, in terms of film directors, does too. But as far as actresses go, for us, you’re a style icon. How did that happen? In your book, you say your father was surrounded by girlfriends, and you were looking at them. They were very diverse, and they had great style. Do you remember if some of them influenced you?
ANJELICA HUSTON — I remember all of them! Or the ones I was introduced to because they were very fascinating to me, and beautiful women have always been fascinating to me, starting with my mother. I think I was also very fascinated at that particular age — which must have been about seven years old onward — by the diversity of all these women. There was also an attraction to things that were a portent of adulthood, of growing up, of womanhood. So, I loved the whole idea of stockings and garter belts and brassieres. I was fascinated by all of that. And I think that was where…
OLIVIER ZAHM — That was the start.
ANJELICA HUSTON — Yeah, that was where it started.
OLIVIER ZAHM — It started with your mother? She had great style and loved fashion.
ANJELICA HUSTON — Yeah.
OLIVIER ZAHM — Who was Enrica Soma? A ballerina?
ANJELICA HUSTON — She was a ballerina with Balanchine and the New York City Ballet. She was very beautiful. I have a picture of her upstairs I can show to you. She’s classic Italian, raised in New York City. Her father was a restaurateur called Tony Soma, and he had a place on the Upper East Side where everybody went. It was very popular after the war. And during the war, it was a speakeasy.
OLIVIER ZAHM — So that was your mother, a girlfriend of your father…
ANJELICA HUSTON — And then, of course, my father’s actresses, who were always really fantastic. I saw Ava Gardner for the first time when I was very young. I guess I was about 10 years old. This was in Milan for the opening of an opera that he did called The Mines of Sulphur. I remember seeing her, and she was really fantastic looking. She was all in white fur and diamonds and turquoise.
OLIVIER ZAHM — She was in the opera?
ANJELICA HUSTON — She came to be there for him. And [the American actress] Susan Kohner. I remember her in leopard skin: leopard-skin coat, pillbox hat, black gloves, leopard-skin handbag, leopard-skin shoes. [Laughs]
OLIVIER ZAHM — So, you saw the old Hollywood.
ANJELICA HUSTON — I did. But these actresses were in England. I was growing up in Ireland and England. I remember Pauline de Rothschild coming to my father’s house in Ireland, and she was a huge style icon. She was fantastic — she had a braid from the top of her head that came down to her waist. She was at that point a woman in her 60s, maybe 50s, it was hard to tell. Everyone seems so old when you’re a child. But she wore thigh-high maroon suede boots. I thought, “That’s really something.”
OLIVIER ZAHM — Incredible.
ANJELICA HUSTON — Never saw anything like that before. So, there were certain things I always found very smart. I loved the way people looked when they were going foxhunting.
OLIVIER ZAHM — Foxhunting, where?
ANJELICA HUSTON — In Ireland. They wore beautiful uniforms: red coats, stocks, very formal. Very impeccable. Very strapped-in: boots, britches. It was chic. I loved that look, even when I was a very young girl. And for girls, there were hairnets under the hunting cap. My father’s girlfriend — and also the woman who ran our estate in Ireland — had that particular thing down to a T. She was a great rider, so the whole picture was complete.
OLIVIER ZAHM — Yeah, horse riding was also important in your childhood?
ANJELICA HUSTON — Very. And my father liked the way women looked riding sidesaddle, so he put me up on a horse, hunting sidesaddle, when I was just 11. Sidesaddle is dangerous! But it looks great, especially on a little girl. I always thought that was an interesting move of my father. He sort of sacrificed me to style, literally. [Laughs] But it looked good!
OLIVIER ZAHM — As a young teenager in the ’60s you lived in swinging London. Another period of interesting style.
ANJELICA HUSTON — It was a serious period of style for me, and my best friend in school who’d come to see me in Ireland, whom I’d met when I was about eight or nine, was Joan Juliet Buck.
OLIVIER ZAHM — I know her, actually.
ANJELICA HUSTON — Joan was three years older than I was and became my first mentor. When I went
to school in London, she was at the Lycée, too — we were both at the Lycée Français, but she was in sixième [sixth grade] and I was in huitième [fourth grade]. And I had to repeat huitième; it was a disaster. The only respect I got from anyone in the schoolyard was because of Joan. She already had style down. And her style had been Frenchified, so it was really cool. All the girls had these little knit cloche hats. They were very chic, and I remember culottes…
OLIVIER ZAHM — Yes, I remember!
ANJELICA HUSTON — The color was kind of pumpkin and maroon. There were two colors, Mary Quant colors, and all the girls were wearing little tweed jackets and the shoes with the buckle, little Hermès-looking shoes with thick heels. It was a really cute period.
OLIVIER ZAHM — How did you meet Joan Juliet Buck?
ANJELICA HUSTON — Her father was my father’s friend and worked for him as his cameraman during the war, when he made The Battle of San Pietro and Let There Be Light. They fought in the war together. They were very close.
OLIVIER ZAHM — Did she already have a good sense of style?
ANJELICA HUSTON — Fantastic sense.
OLIVIER ZAHM — Modern or classic? Inspired by swinging London?
ANJELICA HUSTON — Well, inspired by the Lycée and swinging London, but specifically French. You could always tell the girls at the Lycée because we wore short kilts, little argyle sweaters, little wool sweaters, everything a little too small on top, with dark tights. It was a very specific look, very chic. Little white shirts underneath a dark sweater, but always kilts. After I left that school, I went to another school in Swiss Cottage, which was a bit more beatnik and English — a lot more English — and full of misfits in blue jeans. Everyone was a bit downtrodden and playing cool. All the girls wore ballet shoes or Wellington boots. There was no in between. You were supposed to be in uniform, but you were always altering it: rolling up your skirt and all of that. Then my next school was right around the corner from Biba, which was a huge influence on every young woman growing up in London at the time.
It was all about these great dresses. You’d go in there and, as a schoolgirl, you could fit them on really well under the uniform.
OLIVIER ZAHM — Under your uniform?
ANJELICA HUSTON — Oh yeah, and walk out with them. There was this kind of bench in the middle of the store where, if something didn’t fit or you weren’t going to buy it, you’d put it on the bench and they’d put it back on the racks. But there was always something on the bench that they didn’t mind if you took. Because they appreciated that the prettiest young girls in London were wearing their stuff, so they let you get away with it most of the time.
It was good publicity for them.
OLIVIER ZAHM — That’s smart. Was the music scene important to you as a teenager?
ANJELICA HUSTON — Very. Especially at that time. All this amazing music was happening. My mother was current with all of it. She took me everywhere. To see Ike and Tina Turner when I was, like, 12 years old was a revelation to me. There was so much great art. It was really a melting pot of talent, and there was a lot happening.
OLIVIER ZAHM — Were you conscious of this transformation of style?
ANJELICA HUSTON — Oh, for sure. How the rock-star girlfriends looked, how Anita Pallenberg and Marianne Faithfull looked — I remember.
OLIVIER ZAHM — That was a revolution. It was not just a style. It was saying something to you about freedom.
ANJELICA HUSTON — A certain freedom, but also something kind of romantic.
OLIVIER ZAHM — Kind of aristocratic, too?
ANJELICA HUSTON — Aristocratic, bisexual, beautiful — beautiful boys and girls with long hair, lace, satin, silk, rings, scarves, velvet, feathers. It was very whimsical, and those girls I remember, the prettiest girls, the models of the time, like Celia Hammond, Pattie Boyd, and Jean Shrimpton — although she was slightly off to the side — there were some amazing-looking women. Also, Jill Kennington and Penelope Tree. Beautiful.
OLIVIER ZAHM — That led you to become a model yourself in the ’70s. Was it fun?
ANJELICA HUSTON — I loved it.
OLIVIER ZAHM — You loved it? A lot of actresses complain today about having to model.
ANJELICA HUSTON — Maybe they didn’t get the best stuff out of it. I think modeling was very good for my acting later. It’s good for your confidence. It teaches you how to move. It teaches you rhythm in front of a camera. It teaches you to interpret what a photographer is trying to tell you.
OLIVIER ZAHM — There’s a little vocabulary.
ANJELICA HUSTON — Yeah. It reminds you to be conscious of what your body’s doing, how you look, how you express yourself. It could also be high fantasy. And I worked with some of the best — well, I worked with the best. I was really lucky.
OLIVIER ZAHM — You worked with Avedon?
ANJELICA HUSTON — I worked with Avedon, Bob Richardson, Helmut Newton, Guy Bourdin.
OLIVIER ZAHM — Bourdin, too?
ANJELICA HUSTON — Oh, yeah. I worked with lots of really good people.
OLIVIER ZAHM — Helmut Newton did some amazing pictures of you.
ANJELICA HUSTON — I loved working with Helmut. The first time I ever worked with him, I’d been working on the collections with Guy Bourdin, and I’d gone home and there was a call at three o’clock in the morning.
OLIVIER ZAHM — In Los Angeles?
ANJELICA HUSTON — No, in Paris. I’d just gotten back to my apartment. I’d finished for the day with Guy, and it was a call from Vogue. They asked if I would come back to do the title page with Helmut Newton, and I’d never worked with him before. I’d heard he was really mean to girls. I was really excited, but also really scared. I showed up [at the old Vogue offices] on the Place du Palais Bourbon in the dead of night, and we did the first pictures that he ever did where he blanked out your eyes — you know those ones where he made your eyes red with the flash — except we did black and white mostly, and we had
OLIVIER ZAHM — At three o’clock in the morning?
ANJELICA HUSTON — Three o’clock in the morning, until about six. It was really good. I liked him immediately, and after that I worked with him quite a bit. We always liked each other. He remained a friend all my life.
OLIVIER ZAHM — All your life. Beautiful. I heard that he was also friends with your husband, Robert Graham.
ANJELICA HUSTON — Yeah. He photographed Bob separately from me long before we met. So they had a friendship, too.
OLIVIER ZAHM — There’s a famous picture of your husband next to his sculpture, the girl with open legs, amazing picture. I love this picture.
ANJELICA HUSTON — Yeah. Yeah.
OLIVIER ZAHM — And just one word about the other Bob, Bob Richardson. Did you like working with him professionally? I’m not speaking about your love story with him.
ANJELICA HUSTON — Yes. I think he’s a genius. As a photographer. I think you know this book that Terry put together of his father — it’s really quite extraordinary, what Bob saw and how he saw. He was painterly, and some of the landscapes photographs in this last book are the saddest thing I’ve ever seen. They’re so desolate, and I think they reflect Bob’s inner self. But he put his heart in his work, and, you know, he lived a rough life. He was rough on everybody around him, and he was rough on himself.
OLIVIER ZAHM — And rough on his son. I’m very close friends with Terry actually, going on 20 years.
ANJELICA HUSTON — Well, I love Terry. Terry is a beautiful little boy.
OLIVIER ZAHM — One day, I would love you to do a photo session with Terry. It would be beautiful if you had the energy for it.
ANJELICA HUSTON — Yeah, we did some pictures the week before my husband died, Terry and I. And I haven’t seen him since. He’s great. He reminded me a lot of Bob. I cried the whole day. I was so sad about so many things, and it was both sad and wonderful to see him and to be working with him, so I just cried, and he shot away. It was fine. We had a good time.
OLIVIER ZAHM — He’s a lovely guy. I published a story in the magazine when Bob died. It was an homage to his photography, and there’s one of the pictures with you and Bob and little Terry. I think it was in upstate New York.
ANJELICA HUSTON — In Woodstock, yeah. I gave him a bunch of those Polaroids that I had of us.
OLIVIER ZAHM — It must be one of those.
ANJELICA HUSTON — Yeah, that one, and also with him and Lucky the poodle.
OLIVIER ZAHM — Exactly, that’s the one. Who were the designers you first remember as part of your grown-up style?
ANJELICA HUSTON — I always liked Yves Saint Laurent. I think he was the best designer; he was revolutionary in fashion. The other one who was very big and meaningful in my life was Giorgio Armani, who did a huge thing for women: he gave them a kind of gravitas that they hadn’t enjoyed before. He allowed women to look as though they were feminine, while also being workers in offices, making decisions, looking feminine. I don’t know what it was, but maybe I always looked good in his suits.
OLIVIER ZAHM — Halston, too?
ANJELICA HUSTON — I was one of Halston’s Halstonettes, so yes.
He was great. It was really nice to wear his clothes. I’d wear clothes that he gave me, but I wasn’t shopping for Halston at the time. Actually, everyone gave you clothes, so it wasn’t like you were out there spending a lot of money. And l loved Zandra Rhodes. She was always so sweet to us. I loved working for her because she had fun shows.
OLIVIER ZAHM — You’re not only a style icon; you’re also a strong, powerful, independent woman. That’s the way I see you. As you say in your book — you’re also, can I say, a “singular” beauty.
ANJELICA HUSTON — Thank you.
OLIVIER ZAHM — How did you gain this confidence to express your beauty in your own way without conforming?
ANJELICA HUSTON — I think I was born with a kind of confidence in what was around me, more than a confidence in myself. So, it took me a long time to become confident. I remember when it started to happen: that moment as a teenager when you come out of an ugly stage, and then an awareness occurs and you measure that, and how well you do in school with the opposite sex.
OLIVIER ZAHM — Flirting?
ANJELICA HUSTON — Flirting, and testing the waters.
OLIVIER ZAHM — [Laughs] Putting your little feet in.
ANJELICA HUSTON — To see how it feels. You get a measure of yourself, at least what you’re capable of. And I think, for me, I always floated between no confidence and feeling quite sure that I could get whatever I wanted if I decided to do that.
And I’m still kind of the same today. If I want something really badly,
I can get it. But I’m more withdrawn from that impulse these days, and more self-protective.
OLIVIER ZAHM — What are the most important qualities in a woman?
ANJELICA HUSTON — It’s hard to tell, but I think a degree of honesty with yourself while not being too hard on yourself, either. I think a lot of women beat themselves up and want to be perfect. I’m no different. And it’s very much that way with actresses. It doesn’t get any easier to look at yourself. It doesn’t get any easier to express yourself.
OLIVIER ZAHM — Do you look at yourself in movies?
ANJELICA HUSTON — It depends. When I was modeling, I used to cry over my pictures. I thought I was so ugly, and how did I get that nose! And now I look at the pictures, and it’s not so bad! [Laughs] But I had some crises. It’s not quite the same, but I did a piece not long ago, and I was looking at it — and I wasn’t really wearing any make-up — and thinking, “God, I fooled everybody all these years, I’m as ugly as sin!” [Laughs] I just got away with faking it for the last 50 years or something!
OLIVIER ZAHM — You’re a strong woman, but you’re not afraid to say in public that you cry sometimes and have crises.
ANJELICA HUSTON — I cry a lot.
OLIVIER ZAHM — This is part of what you appreciate in a woman: that she be honest with her emotions.
ANJELICA HUSTON — She has to be. Particularly if she’s an actress. Throughout my life, people have sometimes said: “You’re too sensitive. You take things too personally.” I’m an actress! How can I possibly be otherwise? My profession itself is based on the fact that I register emotion and am able to project it. Otherwise, I have no purpose being around, and certainly not doing what I do. You can’t tell me that I’m too sensitive. It’s true: I am sensitive.
OLIVIER ZAHM — Unless it’s a compliment.
ANJELICA HUSTON — Exactly.
OLIVIER ZAHM — You mentioned Anita Pallenberg and Marianne Faithfull. Are there girls or women today you would consider part of this club?
ANJELICA HUSTON — There are a lot of really interesting girls out there. Interesting and beautiful young women. And I see quite a lot of them: Michael and Eva Chow’s daughter, Asia, is a beautiful and talented girl. There are a lot of really pretty, interesting, and rather soulful ones coming up.
OLIVIER ZAHM — Do you like the new pop stars like Rihanna?
ANJELICA HUSTON — I love Rihanna. I think she’s got such a sweet face, and I love the fact that she’s from Barbados. She’s a lovely island girl. Yeah, I do love Rihanna. I think Adele is off the charts; she’s a genius. It’s nice to see these girls, and I don’t know Taylor Swift, but the girl has some business acumen, you know? And she’s protective of other girls. I love that. There are girls that well… I can’t say I’m really a fan of Lorde’s songs, but I like her approach. I like that she is who she is.
OLIVIER ZAHM — So, you’re confident about women today.
ANJELICA HUSTON — For sure. The women are on the up and up. They’re still struggling and having to go through that thing, you know, unequal pay, but there are some gorgeous girls, and it’s going to change. Jennifer Lawrence is gorgeous.
OLIVIER ZAHM — Why have you ended up playing so many witches? Let’s say, the negative or the cruel side of womanhood.
ANJELICA HUSTON — Witches are very fun because they are basically full of repressed passion. They have the worst time because they’re so ugly. So, in the full knowledge of how ugly they are, they can just be exactly who they are. They’re incredibly liberating to play.
OLIVIER ZAHM — You mean that they can’t express their love?
ANJELICA HUSTON — In some way, they were thwarted; they were made into ugly beings. God didn’t smile on them, and they chose the ugly way. There is a choice somewhere there. People don’t become like this for nothing! So you do this because things are coming at you from above and around you. Beautiful people don’t do that. Beautiful people throw their shoulders back, their chins are up. They’re receptive to the world, the sun is shining on them, they’re blonde, and it’s all good. But with witches, it’s another circumstance — having to defend themselves at all times, so it turns into a very angry situation.
OLIVIER ZAHM — Isn’t there a bit of this in all women?
ANJELICA HUSTON — All women are witches.
OLIVIER ZAHM — It’s interesting that you recognize that there’s violence in women. Women are not just the good side of humanity.
ANJELICA HUSTON — Oh, no. Women have, I think, as much repressed violence as men — just less opportunity to show it. But here in America, I don’t know, they’re always drowning their children or doing something awful. That’s violent. That’s really violent. And a lot of that goes on. Sad women in the south who get in a car and drive themselves and their children into
a lake. That happens.
OLIVIER ZAHM — You’re playing in this TV series called Transparent. Do you enjoy it?
ANJELICA HUSTON — I do. And I enjoy the fact that the world is changing. I truly see transgenderism and this new evolution as something that is normal and probably has some kind of evolutionary root in overpopulation, so who knows? Things happen for a reason, and I think there is a real reason why people who are born one sex are feeling like they belong to another these days. Whatever it’s about, whatever it comes from, I’m not sure, but I’m not a scientist. I think you have to honor that. If that’s something that they need to do, my blessings go with them. It’s not something people do just whimsically.
OLIVIER ZAHM — In giving public recognition to this new possibility, Europe is a bit slow on that; we’re just starting to accept gay marriage.
ANJELICA HUSTON — I love that Ireland immediately accepted gay marriage. How great! You know, it was a very repressed country, but they’re a very compassionate people. And I think the more compassionate we become, the better off
we are. In a compassionate world, many things are possible.
OLIVIER ZAHM — What role do you play on Transparent?
ANJELICA HUSTON — I play Maura’s new friend.
OLIVIER ZAHM — It’s already shot?
ANJELICA HUSTON — I’ve shot two episodes that air in December. I think I might work in it next year, too.
OLIVIER ZAHM — It’s a good show. What have you learned about love throughout your life? We don’t need to mention specific stories, but what is love for you, love with a man I mean, not in a general sense? Is it something really important in your life? It seems to be.
ANJELICA HUSTON — Yeah. It is. I really like it. I like to have someone to whom I feel spiritual and physical and heart attachment. It’s a really powerful, lovely thing to have a partner. But I think that what I’ve learned more, as time goes on, is that you project what you want onto the other person.
OLIVIER ZAHM — And it’s not necessarily there?
ANJELICA HUSTON — It’s not them. [Laughs] It’s your projection. I have to be a bit careful about that kind of thing.
OLIVIER ZAHM — Coco Chanel said “a woman who’s not loved is a lost woman.”
ANJELICA HUSTON — Well, I wouldn’t go quite that far! I’m surprised that Chanel said that because she always seemed to me fairly independent. She liked to smoke and put a smoke ring around herself.
OLIVIER ZAHM — She was very romantic and had this big passion for men. What do you want from your partner or from love? What’s important for you in a relationship?
ANJELICA HUSTON — Here’s one thing that’s really important: basic respect. Another really important thing is a sense of humor.
OLIVIER ZAHM — And you have it?
ANJELICA HUSTON — I like to think so. You know, that sense of mutual regard for somebody, that’s nice. You don’t have to agree about everything. You can agree to disagree about certain things, so long as you take the other person’s feelings seriously.
OLIVIER ZAHM — You had a torrential relationship with Jack Nicholson, which was basically a very glamorous moment in your life. But at the same time, you suffered from the fact that he betrayed you. So what would you say to a young girl — would you say you have to wait for a man to be faithful or not? What’s your feeling about that?
ANJELICA HUSTON — I don’t know. I was riding in the back of a limousine, going to an airport in New York a couple of days ago, and my driver said, “Here’s the thing — no man is faithful!” [Laughs] So, you know, I’ll take his world for it. Men aren’t faithful. No woman should be looking for that. [Laughs]
OLIVIER ZAHM — But you were very happy with Robert Graham for, like, 15 to 20 years.
ANJELICA HUSTON — Yeah. All relationships, if they’re worth anything, go through changes and variables, but I always respected Bob, and he always respected me. I think that was a very solid basis for our relationship.
OLIVIER ZAHM — You were not jealous of all the naked girls he modeled his sculptures on?
ANJELICA HUSTON — No, I wasn’t.
I never was. You would think maybe that would have been the case, but you have to recognize that to be with a sculptor who sculpts naked women — that’s his oeuvre, that’s what he does. So you can’t come along and say: “Oh no, I don’t like that!
That’s not going to work after we get married!” [Laughs]. No, you can’t.
OLIVIER ZAHM — On the contrary, you enjoy the way he loves women.
ANJELICA HUSTON — Exactly. The way he understands and sees with his very particular eye.
OLIVIER ZAHM — Which is realistic, in a way.
ANJELICA HUSTON — And I always felt that I was his muse, so I didn’t have any problems with it.
OLIVIER ZAHM — Did you keep the studio as it was?
ANJELICA HUSTON — No. I sold Robert [Graham’s] studio. His son still looks after his business and has the majority of his pieces.
OLIVIER ZAHM — You first arrived in LA from Europe and New York after breaking up with Bob Richardson. It was a sort of paradise for you in the beginning of the ’70s. Did you go through the whole drugs, sex, and rock-and-roll period?
ANJELICA HUSTON — Oh, yeah. I mean, you couldn’t live here and not go through it, really. [Laughs]
OLIVIER ZAHM — You embraced it?
ANJELICA HUSTON — Wholeheartedly. And we had some fine times. Met great people and made good friends that I’ve kept to this day. I still see my friends from that period. It was a very creative period. Full of music and dance. We used to go skiing in Aspen and be here in the summer. There was a lot going on. It was very fertile ground.
OLIVIER ZAHM — We all dreamed about what this time was like.
ANJELICA HUSTON — Oh, it was a great and innocent time.
OLIVIER ZAHM — How do you see LA now?
ANJELICA HUSTON — Well, it’s growing tremendously. A lot of people have moved downtown, which is starting to thrive. I remember there was a kind of effort when I was first here, but I never thought of LA as being a downtown kind of city. But it seems to have happened. People have actually taken lofts, and they’re enjoying it, and there’s good food, so that’s cool.
OLIVIER ZAHM — So, you still love your city.
ANJELICA HUSTON — I do love my city. I’m much happier here than I am in any other big city in America. And I’m an American now. I don’t know if I could go back and live in London. It’s hard to go to places that you’ve left.
OLIVIER ZAHM — Once you’ve left the Old World, you want to be young forever in America.
ANJELICA HUSTON — [Laughs] Yeah, the fountain of youth!
OLIVIER ZAHM — You don’t age in LA. You have the sun.
ANJELICA HUSTON — The sun, and a lot of plastic surgeries. [Laughs]
[Table of contents]
by Olivier Zahm
Adrian JoffeRead the article
Sebastien SchipperRead the article
Simon DennyRead the article
Jeff WallRead the article
Tokyo No Onna
by Chikashi Suzuki
by Olivier Zahm
A tribute to Nova magazine
by Harri Peccinotti
Alex da CorteRead the article
The Spring/Summer 2016 collections
by Robi Rodriguez
by Olivier Zahm
by Terry Richardson
FukumiraiRead the article
Daisuke YokotaRead the article
Emily Mae SmithRead the article
by Jack Pierson
Best of Men’s S/S 2016 Fashion
by Andreas Larsson
by Katja Rahlwes
by Maxime Ballesteros
Tear Me Apart
by Casper Sejersen
Robert M. RubinRead the article
by Simon Liberati
by Olivier Zahm
Innocence and Panic
by Sven Schumann
Natalie KrimRead the article
Craig GreenRead the article
Ugo RondinoneRead the article
Marchese Giorgio Sanjust di Teulada
by Benoit Peverelli
International House and Nishinoyama House
by Takashi Homma
by Olivier Zahm and Stéphane Feugère with a portfolio by Sophie Bramly
Paulin, Paulin, Paulin
by Olivier Zahm
by Anne Dressen
by Johann Bouché-Pillon
Simon Porte Jacquemus
by Olivier Zahm
by Kazumi Kurigami
by Olivier Zahm
Paul SchimmelRead the article
by Mehdi Belhaj Kacem
presented by Benoit Peverelli
Rebecca Fin SimonettiRead the article
Josh KlineRead the article