EIZA GONZÁLEZ

Stands Strong
 GAL GADOT
PHOTOGRAPHED BY CELESTE SLOMAN AND STYLED BY CRISTINA EHRLICH
HAIR: Sabrina Bedrani THE WALL GROUP MAKEUP: Renato Campora THE WALL GROUP
ON THE COVER—Sweater, brief, and scarf MICHAEL KORS COLLECTION
ON COLLECTOR’S COVER—Dress SAINT LAURENT BY ANTHONY VACCARELLO Necklace BULGARI HIGH JEWELRY
ABOVE—Top PROENZA SCHOULER Rings TIFFANY & CO.

Volume 6, Number 36 | lofficielusa.com | L’OFFICIEL USA | 9 W 57th St New York, NY 10019

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 I SEE YOU 32
BY Alyssa Kelly
PHOTOGRAPHY BY Junichi Ito
Putting his own spin on a classic, Marc Jacobs’ remix of the Fendi Peekaboo
is a lesson in authenticity.

CRAFT WORK 18
BY Aemilia Madden
LVMH Prize finalist Rachel Scott is bringing Jamaica’s craftsmanship to
the world with her fashion brand Diotima.

GIMME SHELTER 22 NEW YORK’S GEM 34

Tiffany & Co. reimagines its iconic Fifth Avenue flagship, now aptly titled
On New York’s Shelter Island, a historic hotel has reopened its doors.
The Landmark.

A TRANSATLANTIC STATE OF MIND 36

BY Piper McDonald & Tori Nergaard
A fashion friendship between the U.S. and France has existed since the
founding of L’OFFICIEL, uniting filles Américaines and Parisiennes.

GAL GADOT IS IN CHARGE 42

BY Hannah Jackson
PHOTOGRAPHY BY Celeste Sloman
STYLED BY Cristina Ehrlich
The actor, producer, and entrepreneur takes the future into her own hands.

FRANCE’S NEW WAVE 50

BY Laure Ambroise
PHOTOGRAPHY BY Pauline Bajzak
STYLED BY Vanessa Bellugeon
The current vanguard of talented French It girls are gracing our screens—soon
to be seen in a variety of high-profile releases.
OLD WORLD DESIGN 24
BY Sofia Mosier Dress
Italian furniture label Molteni&C celebrated its 2023 collection at FERRAGAMO
Milan Design Week.

Coat Nº21 BY
ALESSANDRO
DELL’ACQUA
Top and pants
OSEREE

DAYLIGHT SAVING 56
PHOTOGRAPHY BY Ezra Patchett
STYLED BY Janou Monteagud
Bright colors, textured layers, and dramatic forms for embracing the high
summer moment, just before autumn takes hold.

FOUND IN TRANSLATION 70
PHOTOGRAPHY BY Emma Panchot
REVELATIONS 26 STYLED BY Jennifer Eymère
PHOTOGRAPHY BY Paolo Musa Japanese actor Nana Komatsu embodies the codes of the house of Chanel,
STYLED BY Julie Wozniak is a modern muse to maison creative director Virginie Viard, and is living life
The underwear-as-outerwear trend has staying power. by her own rules.
 Coat, sunglasses,
and ring
LOUIS VUITTON

QUEEN’S SUITE 76
BY Tyler McCall
PHOTOGRAPHY BY Emily Soto
Styled by Calvy Click
As the star of Netflix’s new Bridgerton prequel, India Amarteifio has found
her place firmly in the spotlight.

RIPPLE EFFECT 84
BY Alyssa Kelly
PHOTOGRAPHY BY Nick Thompson
STYLED BY Oliver Volquardsen
With several new projects in the works—plus a Bulgari ambassadorship—Eiza
SEEING ROUGE 104
BY Sophie Shaw
González is nowhere near ready to slow down.
PHOTOGRAPHY BY Nick Thompson
STYLED BY Théophile Hermand
Top and skirt CHLOÉ Dior introduces its newest haute couture creation: Rouge Premier. Blending
Necklace CHANEL bespoke beauty with the house codes, the special lipstick is on a new frontier of
luxury beauty.

COLLABORATIONS 116
BY Laure Ambroise
Through Theoreme Editions, David Giroire and Jérôme Bazzocchi curate an
eclectic selection of unique objects by European artisans and designers.
THIS VERSUS THAT 92
PHOTOGRAPHY BY Debora Pota L’LOOKBACK 120
STYLED BY Valentina Fino BY Piper McDonald & Tori Nergaard
Black and white. Oversized and shrunken. Maximalist and minimalist. Barbie is a cultural icon, reappropriating tropes of girliness to become a
The choice is yours, but why choose when it can all be had at once? multifaceted symbol of womanhood.
 GLOBAL
CHAIRMAN
Dr. Calvin Choi

CO CHAIRMAN
Chris Brown

CHIEF FINANCIAL OFFICER CHIEF EXECUTIVE OFFICER DEPUTY CHIEF EXECUTIVE OFFICER
Xavier Zee Benjamin Eymère Maria Cecilia Andretta

CHIEF CONTENT OFFICER CHIEF REVENUE OFFICER CHIEF CONTROL OFFICER CHIEF MARKETING OFFICER
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GLOBAL EDITORIAL GLOBAL DIGITAL GLOBAL SALES

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CASTING DIRECTOR HEAD OF DIGITAL PRODUCT MANAGING DIRECTOR SALES FRANCE IS AN AMTD GROUP COMPANY
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FOUNDERS
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ET ULLY JALOU (†)
FASHION FEATURES EDITOR
Laure Ambroise PUBLISHED BY L’OFFICIEL INC
EDITOR FINANCE AND ADMINISTRATION HEAD OFFICE :
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FINANCE DIRECTOR FRANCE
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USA

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SALES AND MARKETING MANAGER DIGITAL EDITOR
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CONTRIBUTORS

PHOTOGRAPHY FASHION FEATURES PRODUCTION DIRECTOR

Pauline Bajzak Calvy Click Hannah Jackson Alexander Wolf
Junichi Ito Cristina Ehrlich Aemilia Madden
Paolo Musa Valentina Fino Tyler McCall CASTING
Emma Panchot Théophile Hermand Piper McDonald Lauren Tabach-Bank
Ezra Patchett Janou Monteagud Sofia Mosier
Debora Pota Oliver Volquardsen Tori Nergaard
Celeste Sloman Julie Wozniak
Emily Soto
Nick Thompson

INTERNATIONAL EDITIONS
L’Officiel Paris, L’Officiel Hommes Paris, L’Officiel ART Paris, Jalouse, La Revue des Montres, The International Watch Review, L’Officiel Arabia, L’Officiel Hommes Arabia, L’Officiel Argentina, L’Officiel Austria, L’Officiel Baltic,
L’Officiel Belgique, L’Officiel Hommes Belgique, L’Officiel ART Belgique, L’Officiel Brasil, L’Officiel Hommes Brasil, L’Officiel Chile,L’Officiel China, L’Officiel Hommes China, L’Officiel French Riviera, L’Officiel Ibiza,
L’Officiel Italia, L’Officiel Hommes Italia, L’Officiel ART Italia, L’Officiel Korea, L’Officiel Hommes Korea, La Revue des Montres Korea, L’Officiel Latvija, L’Officiel Liechtenstein, L’Officiel Lithuania, L’Officiel Malaysia,
L’Officiel Mexico, L’Officiel Maroc, L’Officiel Hommes Maroc, L’Officiel Monaco, L’Officiel NL, L’Officiel Philippines, L’Officiel Singapore, L’Officiel Hommes Singapore, L’Officiel Spain, L’Officiel St Barth, L’Officiel Switzerland,
L’Officiel Thailand, L’Officiel Hommes Thailand, L’Officiel Turkey, L’Officiel Hommes Turkey, L’Officiel Ukraine, L’Officiel Hommes Ukraine, L’Officiel USA, L’Officiel Hommes USA, L’Officiel ART USA, L’Officiel Vietnam.
 LVMH Prize finalist Rachel Scott
is bringing Jamaica’s craftsmanship to the world
with her fashion brand Diotima.

In March, Rachel Scott returned home to Jamaica, fresh off Scott studied fashion design at Milan’s Istituto Marangoni,
of showcasing her brand Diotima in the semifinal round of and then traveled between Europe and the U.S., working
fashion’s prestigious LVMH Prize in Paris. Her first order as a designer for brands like J.Mendel and Elizabeth &
of business: to check in with the Kingston craftswomen James. When she launched Diotima in 2021, Scott was
whose crochetwork has become a fundamental element of still working full-time as VP of Design at Rachel Comey,
her designs. pursuing her own brand on the side. Soon, juggling both
became unsustainable. Now, she focuses solely on Diotima
“They wanted to see all the pictures,” Scott explains, speaking and travels between New York and Kingston, respectively
over Zoom from her home on the island. “They want to hear the business and creative hubs of her work.
what people have to say about their work. They’re really proud
that there’s value being placed on their labor.” Scott is lofty in her conception of her brand. Even the name,
Diotima, is one with layered nuance—referencing Ancient
During the LVMH Prize voting rounds, Scott presented Greek and modern German-American philosophy. In Plato’s
her creations, and by proxy, that of Jamaica’s crocheters, to Symposium, Diotima is a priestess who explains the mysteries
jury members that included Jonathan Anderson of Loewe, of love to Socrates, an idea Scott finds “beautiful in and of
Dior’s Maria Grazia Chiuri, and Marc Jacobs—an intimi- itself.” What ultimately drew her to adopt the name for her
dating lineup for any young designer. Afterward, Scott, the brand was how Diotima’s position on love and culture was
first semifinalist from Jamaica, was named one of the nine further developed by philosopher Herbert Marcuse in Eros
finalists, in the running for the prize of 300,000 Euros and and Civilization. “He talks about this idea of a non-repressive
LVMH mentorship, to be announced June 7. But if Scott sublimation of love to build culture, and I just think that’s so
is nervous, she doesn’t show it. Instead, she’s energized, incredible,” she explains.
invigorated by the feedback she received from the jury, and
determined to bring her work to the world stage. Diotima is a brand steeped in Caribbean roots, New York
energy, and a desire to imbue a sense of luxury through
Scott first moved to the U.S. from Kingston to study French time and thoughtfulness. Avoiding the tropes of nostalgic
and art at Colgate University. After graduating in 2006, Jamaican style, Scott sees it as forward-looking and focused

By AEMILIA MADDEN
18
 Scott also works with heritage handmade tweeds from
Scotland, a nod to the diaspora between the Caribbean and
the UK. Scott sees her work as an opportunity to highlight
the dissonance and harmony inherent in this relationship,
utilizing crochet, tweeds, and suiting fabrics together, and
challenging the traditional value placed on tailoring as the
defining factor of luxury. “I’m excited to push this idea that
slow fashion is about the value that is luxury. Because I don’t
know what’s more luxurious than something that’s handmade
by someone.”

Sustainability has become the buzzword du jour among fash-

ion brands big and small. But customers are increasingly
looking past the greenwashing, and asking harder questions.
“It’s very easy for someone like Zara to say that they have
sustainable material. And what does that mean exactly?” says
Scott. “So they’re using recycled water bottles, but they’re
producing thousands of garments. It’s very easy to miss the
point and to say you’re working sustainably when you’re not.”

IT’S LESS ABOUT

actual garments,
AND MORE
on construction and craft, but in a way that’s artfully
approachable. Ruffled crochet spills down a pair of textured
OF A SPIRIT OF
trousers, while oversized doilies are transformed into deli-
cately spiderwebbed tops and dresses. “It’s less about actual how people dress.
garments, and more of a spirit of how people dress; it’s a very
cool attitude.”
Scott doesn’t believe it’s possible to talk about sustainability
Crochet is a craft that must be done by hand. Due to its without considering those who actually make the clothes.
intricate nature, machines are unable to recreate the deli- “The people who are going to be affected by climate change
cate stitches. A single doily takes a day and a half of labor, are in the Global South, and are most of the time doing the
so new material can only be created as fast as the hand can labor in fashion, at least on a massive scale,” she explains.
work. “People would refer to the crochet as resortwear,” she
explains. “I don’t know how I feel about that. Should it be Due to the time-consuming and intricate nature of Diotima’s
more serious?” To Scott, the creation is more couture than it designs, there is no overproduction; artisans will always need
is basic beachwear. to be employed in order to produce the clothes. Scott shies
away from the traditional venture capital backing or expecta-
In Diotima’s world, luxury is in process, time, and detail. tions of exponential growth. “It’s me and these women; they
Typically, clothes are constructed from sketches, swatch depend on me,” she explains. “I’ve been growing, but in a way
developments, and samples. But Scott’s method starts with that’s manageable and slow. One day we’ll have a team.” She
her materials. also imagines expanding the world of Diotima beyond her
clothing, creating a greater community within Jamaica. It’s
Crocheted pieces are first made by hand by artisans in a callback to her interest in Marcusian theory—culture over
Kingston, and then draped by Scott. “I start with their stitches capitalism, art as social critique.
and start manipulating them and playing with them on the
body,” she explains. “I end up in places that I don’t expect. Whether Scott wins this year’s LVMH Prize or not, the
It’s respectful of [the artisans’] desires and how they want to process has given her the resolve to continue her vision for all
work, but then also is pushing me to try and learn new things of the things Diotima can be. “Because I have conviction, I
in the process.” can be bolder with what I’m doing and not be afraid to speak
within my language. People can understand the narrative I’m
ABOVE—Rachel Scott
trying to build. I feel a sense of comfort within that, but [also]
OPPOSITE AND PREVIOUS PAGE—Diotima Pre-Fall 2023 photographed by Deirdre Lewis confidence that I can push my ideas a bit further.”
20
 GIMME
Shelter
On New York’s Shelter Island,
a historic hotel
has reopened its doors.

Cape Resorts, renowned for preserving the hospitality of

bygone eras, has recently reopened the refreshed Pridwin
for the summer season—a luxurious and whimsical water-
front resort located on New York’s Shelter Island. Built in
1927 and managed by the same family for over 60 years, the
property has undergone extensive renovations and now fea-
tures 33 rooms and 16 private cottages, all situated on seven
acres of beautifully restored shoreline. True to Cape Resorts’
affinity for history—the boutique hotel company also owns
the two oldest resorts in Cape May, which they restored—
the hotel’s design seamlessly combines nostalgic playfulness
with modern elegance. The main lobby doubles as a fully
stocked library with board games, while an adjacent “history
hall” features archival photographs, property signage, room
keys, and hotel mementos. A wealth of high-end offerings
include a fitness space, spa, and sundries shop, and the three-
meal dining room offers locally caught seafood, produce, and
East End wines. The property’s eclectic mix of old and new
design elements creates a timeless seaside resort atmosphere,
evoking classic Adirondack summer camps. With its charm-
ing design, luxurious amenities, and prime location, the
Pridwin is an ideal destination for guests seeking a relaxing
and memorable retreat.
23
 WORLD
Italian furniture label Molteni&C celebrated its 2023 collection
at Milan Design Week.

At Milan Design Week this past April, luxury Italian fur- The entirety of the Molteni&C collection emphasizes the
niture label Molteni&C marked almost 90 years of design connection between indoor and outdoor, private and public,
history, launching its 2023 collection. intimate and shared. In Milan, the Guissano-based furniture
purveyor invited guests to take a look at the newest pieces—
Creative Director Vincent Van Duysen’s project follows the including a table by Van Duysen and chaise lounge by Naoto
configurations of the ancient Roman domus. The uncovered Fukasawa—with Roberto Ruspoli’s painting “Virgilio’s
communal courtyard of the typical home is a central element, Dream” standing as a backdrop.
surrounded by private rooms. Situated between the privacy of
individual spaces and the public space of the courtyard is the The Molteni Pavilion also made its debut during Milan
inner portico, which serves as a place for leisure and respite. Design Week. Set outside the inner portico, Molteni&C’s
ABOVE—Vincent Van Duysen photographed by Amina Marazzi Gandolfi during Milan Design Week
newest outdoor pieces were arranged around the pavilion
OPPOSITE PAGE—Mateo table by Van Duysen artistically, almost as if they were sculptures.

By SOFIA MOSIER
24
 Revelations

The underwear-as-outerwear trend has staying power.

Photography PAOLO MUSA Styled by JULIE WOZNIAK
26
 ABOVE—Coat and shoes JIL SANDER BY LUCIE AND LUKE MEIER Bodysuit DOLCE & GABBANA Bag CASADEI Tights OSEREE
OPPOSITE PAGE—Top, shorts, and briefs MIU MIU
PREVIOUS PAGE, LEFT—Dress, jeans, shoes, and necklaces CHANEL
PREVIOUS PAGE, RIGHT—Coat and necklace BLUMARINE Bra and brief SHH MILANO Shoes DOLCE & GABBANA Stockings OSEREE

29
 ABOVE—Vest and pants MOSCHINO Bra and Briefs OSEREE Necklace SWAROVSKI
OPPOSITE PAGE—Jacket and shorts SPORTMAX Bra and brief OSEREE Shoes JIMMY CHOO Necklace SWAROVSKI
MODEL: Margherita Tondelli HAIR: Alessandro Firenze MAKEUP: Alessia Stefano PHOTO ASSISTANT: Aldacleo Sterli
STYLIST ASSISTANTS: Jessica Nasto and Chiara Campanozzi HAIR ASSISTANT: Danilo Ferrigno

30
 I SEE
Putting his own spin on a classic,
Marc Jacobs’ remix of
the Fendi Peekaboo is a lesson
in authenticity.

To the casual observer, fashion is often equated with an

exclusive severity, marked by lots of black and stoic runway
faces. But fashion is supposed to be fun. It’s an opportunity
for unabashed expression and creativity, something Karl
Lagerfeld understood when he debuted the Fendi Peekaboo
Bag in 2008. Sporting a smiling trompe l’œil opening and
undergoing a myriad of evolutions over the years, it’s an
accessory that embraces individual personality.

For the Peekaboo’s latest iteration, the Italian maison

tapped Marc Jacobs—whose body of work is a master class
in personal expression—to create a capsule collection rein-
terpreting iconic Fendi silhouettes. For inspiration, Jacobs
turned to his hometown of New York City. Th is fluorescent
green Fendi Peekaboo—a nod to the ubiquitous workmen’s
vests around NYC—reflects Jacobs himself: bright, candid,
and unstoppable.

By ALYSSA KELLY Bag FENDI BY

Photography JUNICHI ITO MARC JACOBS

32
 1(:<25.æ6
GEM
7LÿDQ\ &R reimagines its iconic
Fifth Avenue flagship,
now aptly titled 7KH/DQGPDUN.
After a four-year renovation, Tiffany & Co.’s Fifth Avenue
flagship has finally reopened its doors. Reimagined by archi-
tect Peter Marino, the iconic store—newly anointed The
Landmark—now offers 10 brightly lit floors with warm and
welcoming salons in champagne and muted metallic shades.

It is the renovation of the century for the New York jeweler,

which originally opened its doors on Broadway in 1837, and
has called Fifth Avenue home since 1940. While protecting
the historic legacy of the location was top of mind, the team
leading the renovation felt a “duty to surprise” all who will
cross The Landmark’s threshold.

And surprise they did. High above the elevators opposite the
store’s Fifth Avenue entrance hangs the Tiffany-blue Jean-
Michel Basquiat work “Equals Pi,” made famous as part of
the brand’s internet-breaking “About Love” campaign featur-
ing Beyoncé and Jay Z. More than 40 works by powerhouse
artists such as Damien Hirst, Daniel Arsham, and Julien
Schnabel also grace the space. At the heart of the store is
a swirling architectural staircase, inspired by Elsa Peretti’s
groundbreaking jewelry designs for the house. “More than a
store, it’s really a landmark. It’s an art gallery; it’s an exhibi-
tion space,” says Alexandre Arnault, Executive Vice President
of Product & Communications at Tiffany & Co.

Another highlight of The Landmark is the store’s increased

showcasing of its high jewelry. Tucked behind the high
jewelry salon is a glass-fronted workshop where clients can
witness brand-new pieces in mid-creation, an extremely rare
sighting in New York City.

It would have been a miss to renovate one of the world’s most

famous jewelry stores without a nod to one of its key sources
of fame. Walk past The Landmark now, peer into the glass vit-
rine, and you’ll discover Audrey Hepburn in her iconic LBD,
pearls, and sunglasses looking right back at you, to-go coffee
and croissant in hand. On the fifth floor is an Audrey Hepburn
installation, featuring items from the Tiffany archive: pages
from an original manuscript of Truman Capote’s Breakfast at
Tiffany’s, and the Oscar statuette awarded for “Moon River,”
which won the Oscar for Best Original Song in 1961 for the
film adaptation.
35
 A 7UDQVDWODQWLF
STATE
of MIND
A fashion friendship between
the U.S. and France has
existed since the founding
of L’OFFICIEL, uniting
ùOOHV$P«ULFDLQHV and 3DULVLHQQHV
throughout the decades.

A special friendship and a mutual understanding between

France and the United States—specifically, between Paris
and New York—has existed long before the first issue of
L’OFFICIEL hit newsstands in July 1921. Since the founding
of the U.S., the two countries have shared a love of fashion
and defined what it means to be chic in their own unique
ways, and this commonality became a central plotline run-
ning through L’OFFICIEL’s pages over the decades since.
L’OFFICIEL began as a vehicle for promoting and uplifting
the French fashion industry, but the very first issue addresses
the country’s bond with the U.S., even translating all articles
to English, showcasing American collections, and speaking
directly to American buyers in specific English-only articles.

By PIPER McDONALD & TORI NERGAARD

37
 FOR THE
FRENCH, casual
Californian cool
AND Brooklyn-
inspired bohoism
During the ‘20s and ‘30s, early L’OFFICIEL editors like Yves-
ARE AS
Georges Prade emphasized the shared love that the U.S. and
France had for couture. A commonly held belief at that time
PREVALENT AS
was that France was nearly the sole source of global fashion,
exporting it to the clothing-obsessed U.S., and further, only THE red lip, messy
bun, AND no-
New Yorkers were seen as being able to truly understand,
or emulate, the chic Parisiennes. In 1926, amidst a rise in
counterfeit French fashion overseas, L’OFFICIEL remained
loyal to Paris, and the wife of the publication’s founder, E.
May Brunhes, penned an article in defense of French cou- makeup makeup
ture against American fraudsters. Still—no love was lost,
and the international affair continued. In 1927, L’OFFICIEL
launched its “Paris – New York” column to cover the social
HAVE BEEN FOR
AMERICANS.
scenes for transatlantic readers, uniting the citizens of both
cities under one fashionable roof.

American correspondents were added to the magazine’s

masthead throughout the years, reporting on the fashion
industry from an American perspective. These included
Colette-inspired features, written from the point of view of
an elegant New Yorker in Paris. Finally, the first interna-
tional edition of the magazine was launched in New York in
1976, thanks to this strong pre-existing readership. During
the latter half of the 20th century it was commonplace for
the “American in Paris” trope to inspire editorials, encour-
aging Americans to become a part of the Parisian world,
and solidifying the U.S. as couture’s greatest ally abroad.
Countless editorials depicting French women strutting
the streets of Manhattan and adventurous Americans
promenading along the Boulevard Saint-Germain stood in
as a sort of aspirational cultural exchange. Into the ‘90s,
American socialites graced the pages of L’OFFICIEL with
the same frequency as French celebrities, and many received
their own profiles focusing on their French lifestyles after
having relocated to Paris. The fille Américaine became a
recurring character in the pages of L’OFFICIEL, and even-
tually a staple within the magazine.

Editorials using backdrops of New York, Los Angeles, and

Miami engrained American cities into the fashion-scape
ABOVE—Model wearing Saint Laurent in a 1984 issue of L’OFFICIEL
TOP, FROM LEFT—A1981 cover of L’OFFICIEL; A cover from 1982
of the magazine, and these cities have since developed into
PREVIOUS PAGE—American women photographed for a 1994 issue of L’OFFICIEL fashion capitals in their own right, each with their own
38
 Guy Laroche, and Givenchy, these colors have found their
way into the fashion imagination as a way to conceptually
represent France, and eventually the U.S., as the pinnacle of
chic. Whether invoked to reflect a sense of patriotism, or used
as a creative way to convey the bond between France and the
U.S., bleu, blanc, et rouge continues to be applied to fashion
trends and magazine editorials well into the 21st century.

Today, Franco-American fashion has found its repre-

sentatives in It girls and celebrities like Lily-Rose Depp,
Camille Rowe, Marion Cotillard, and Léa Seydoux. Of the
countless articles, TikToks, and Instagram posts that teach
American women how to echo the platitudinal, effortless
Parisian style, there is a corresponding vein of content that
exposes French women to tricks of the American fashion
and beauty trade. For the French, casual Californian cool
and Brooklyn-inspired bohoism are as prevalent as the
red lip, messy bun, and no-makeup makeup have been for
Americans. Where the U.S. has a tendency to speed things
up, France can teach us to slow down. What is certain is that
the Franco-American love story, built on mutual respect,
has also thrived on France and America’s shared valuing of
innovation, quality, and creativity, as well as a high regard
for history, heritage, and tradition.

distinct flavors. Yet, the most prominent content dedicated

to the U.S. was a special 1975 edition of the magazine
commemorating the American Bicentennial. In a spread
depicting American landscapes alongside couture and lux-
ury goods, the publication celebrated a selection of states,
from Maine to Missouri. Each page took on a different state,
and set a scene on an iconic American vista, pairing the vast
and varied topography of the U.S. with the refined luxury of
French couture. Th is special Fourth of July issue continued
to position the U.S. as essential to the growth of fashion
worldwide. Th roughout the ‘90s, L’OFFICIEL dedicated
nearly half of its editorial space to American designers, bou-
tiques, and events. The launch of L’OFFICIEL USA in 2017
further strengthened the longstanding union that has lasted
through the magazine’s entire century.

Since color was first introduced into the magazine through

the fashion illustrations of the late 1920s, the “tricolor” has
expressed the importance of France as the birthplace of
L’OFFICIEL, and the U.S. as its second home. The icono-
graphic red, white, and blue shared by both countries has
often made poignant appearances in the magazine. In France,
the assemblage of these colors was derived from a fashion
statement made by the French revolutionaries of the late 18th
century, who used them on the cockades affi xed to their hats
in order to express their political allegiances. During a similar
moment of political turmoil across the Atlantic, Betsy Ross
famously sewed the stars and stripes of the American flag
using fabrics in these colors, meant to reflect the American
values of perseverance, justice, and valor. Often seen in the
designs and advertisements of couturiers like Christian Dior,
ABOVE, FROM TOP—Model wearing Guy Laroche walking across the Brooklyn Bridge in a
1975 issue of L’OFFICIEL; Models wearing red, white, and blue in a 1975 issue of L’OFFICIEL
RIGHT—A 1946 cover of L’OFFICIEL

39
June 15–18, 2023
Latifa Echakhch, Night Time (As Seen by Sim Ouch) (detail), 2022. Courtesy of the artist and Pace Gallery
With the start of the summer season comes an invitation
to escape and indulge, and our latest entertainment issue
promises to provide just that.

Rising star India Amartiefio is in for a whirlwind of a

summer, starring as the lead in the buzzy Bridgerton spinoff
Queen Charlotte: A Bridgerton Story. Though the British actor
may be new to American audiences, she is no novice, and
for L’OFFICIEL, Amartiefio trades her fanciful frocks for a
selection of modern and chic Louis Vuitton pre-fall looks in
“Queen’s Suite.”

While we certainly relish a good Netflix period-drama binge-

watch, the streaming service has not forgotten to provide us
with a summer blockbuster. Gal Gadot, L’OFFICIEL’s global
cover star, stars in Heart of Stone, a spy action thriller out in
August. She speaks to us about her passion for producing
projects for herself; playing the villain in an upcoming
adaptation of Snow White; and the advice she’s received from
Francis Ford Coppola.

As summer progresses, anticipation mounts for The Three

Body Problem, a science fiction series adapted from Liu
Cixin’s best-selling novel and created by the renowned Game
of Thrones producers David Benioff and D.B. Weiss. Bulgari
ambassador Eiza González leads, and she graces our pages
wearing high jewelry in celebration of the Roman jeweler’s
75th anniversary of Serpenti.

Embrace the fierce Barcelona sun in “Daylight Saving,” and

tap into the latest pre-fall fashions, which, despite containing
the word fall, are truly ready for any hot summer escapade.
“This Versus That” proves that minimalists can play with
silhouette and textures for a striking summer wardrobe.

And what would summer be without a fresh beauty look?

Dior’s Peter Philips surprises with summer’s daring lipstick
trends in “Seeing Rouge,” created with Dior’s much-
anticipated haute couture lipstick.
41
 Is In
The actor, producer, and entrepreneur takes the future
into her own hands.

Gal Gadot can’t sit still, both literally and figuratively. On a Stone, in which she stars as Rachel Stone, an intelligence
recent Zoom call from her sun-drenched Los Angeles home, operative tasked with saving her supranational organization’s
the Israeli actor punctuated her thoughts on everything most valuable asset; Gadot nurtured the project from con-
from action heroes to Disney villains with unrestrained cept to screen. Post–Wonder Woman, Gadot is invigorated
hand-waving, chin-rubbing, and even face-clawing. Gadot, by getting her hands dirty, ready to play an active role in
38, who broke through in 2017 with the smash hit Wonder every project she signs onto. Not only is she diving into the
Woman, admits she struggles with unwinding. “I’m itchy. I deep end as a producer on Heart of Stone, and a founder of
can never really sit still,” she says. “Either I’m making babies the better-for-you mac-and-cheese brand Goodles, but she’s
or making a project. I feel like life is too short, and I want to taking leaps in the acting world, too, entering her villain
devour everything.” era in next year’s Disney live-action musical Snow White
alongside Rachel Zegler, and directed by Marc Webb. (And
As an actor, producer, entrepreneur, partner, and mother, those are just the projects she can talk about…) Gadot spoke
Gadot is always juggling at least a few roles on any given with L’OFFICIEL about her forthcoming projects, impos-
day. At present, she’s wearing actor and producer hats as tor syndrome, and carrying on the legacy of her Holocaust
she gears up for the release of Netflix’s spy thriller Heart of survivor grandfather.

By HANNAH JACKSON Photography CELESTE SLOMAN Styled by CRISTINA EHRLICH

42
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L’OFFICIEL:You recently narrated a video for visitors at Auschwitz-
Birkenau, the camp that your grandfather survived. What was it
like for you to do that?

GAL GADOT: Where do I even begin? To do the narration was

a no-brainer. Steven Spielberg’s foundation [Righteous
Persons Foundation] reached out and asked if I would do it.
I didn’t even know what I was about to narrate. I didn’t know
they were gonna play it [at Auschwitz]. My grandfather lost
his entire family there. When he was 14 or so, if someone
would have whispered into his ear that his granddaughter
would tell the story of what happened in this hellish place
in just a few decades…it really struck me. For the longest
time he never talked about it—it was too painful. When
my grandma passed away, I think he realized that life is too
short, that it’s gonna end one day. He completely opened
up about everything and told us the entire story. It was very
traumatic for obvious reasons. The way he overcame it was
with love, with forgiveness, with teaching people to be good
people so this never happens again, and with compassion.
He was like the loveliest teddy bear of a grandfather, with a
smile in his eyes and not a gram of anger or frustration. I feel
very lucky that I had the opportunity to do this and come
full circle with my grandfather.

L’O:It’s such a powerful legacy to carry as a grandchild of a

survivor. So many of these stories are lost.
GG: The whole idea of starting the production company with
GG: Totally, and it’s true. I feel like the human soul never my husband [Jaron Versano] was to be in control of my own
really changes. I feel like the theme of love, compassion, destiny. I’m not the type of person who likes to sit and wait
acceptance, and community—all these ideas are the things for the next offer. Heart of Stone was one of the very first ideas
that would make society better. Not division, not hate, not that we had. I realized that we always feel like female protago-
fear, not envy. It’s what actually is gonna bring us further to nists are more for female audiences. With Wonder Woman, we
a better life. really managed to prove that as long as the story is universal,
it’s good. I felt like there was room for a female-protagonist
You’re not only starring in Heart of Stone, but also producing.
L’O: action movie that would be for everybody, but more gritty
What interested you in this project from a producer perspective, and raw and grounded, rather than a polished superhero
and then as an actor? movie. Usually, as an actor, you get the script, and you can
discuss the script with your filmmaker, but that’s kind of it. In
a way, it’s super easy; you don’t have to worry about anything.
But there’s something so stimulating and exciting in creating

THE whole idea OF something from scratch.

You and your husband are also producing partners. What is it

STARTING THE
L’O:
like to work alongside your spouse?

PRODUCTION GG: Most people would raise an eyebrow. It all depends on

the dynamic of the relationship that you have. Jaron and I

COMPANY…WAS were always on the same page. He comes from the business
side of it, and we had a really great opportunity when he sold

TO BE IN control
his entire [real estate] portfolio in Tel Aviv. Either he was
going to continue real estate or come work with me, and I was

OF MY own destiny.
like, “Let’s work together,” because he was the missing piece.
Jaron has the business mind, and who else can take care of my
interests better than my life partner?

L’O:What stands out about [your character] Rachel Stone is her

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47
 IT WAS really important FOR ME
TO SHOW A CHARACTER THAT IS
úDZHGîI WANTED TO
FUHDWHDZRPDQ WHO HAS LEARNED
TO DO everything by herself.

GG: It was really important for me to show a character that is Stone movie, I would be so happy, and we’ll talk about it then
flawed. I’d already done and enjoyed doing the superhero of if we ever get to the other side.
it all, and I wanted to show a real person. I wanted to create
a woman who has learned to do everything by herself. She What movies or actors influenced your approach to creating
L’O:
can never be an open book; she can never trust anybody fully. Heart of Stone?
And that was also part of the reason why I love Tom Harper,
our director, because I remember watching Wild Rose with GG: I can’t say this is like the female Bond, because who am
Jessie Buckley. It’s a tiny story, but he managed to craft it in I to say anything like that? Bond? Such legacy and heritage!
a way that was super character-driven. To me, it was more We’ve started something original. We wanted it to be thrill-
important to bring a director that cares about emotional per- ing and exciting and have people at the edge of their seats,
formances and the story, rather than the way the action looks. not just a story where you can tell what the end is going to
be. So that’s a tough question for me to answer as far as
L’O:Obviously, we don’t see a ton of women leading spy thrillers, inspiration, because we’ve tried not to take too much from
which we’ve touched on a bit, but what does the opportunity to others. We did make a big scopey movie like the Mission
lead this film—and potential franchise—mean to you? Impossible and Bond films. We shot in five different locations.
It was important for us that most everything that we could
GG: A lot of people had mentioned, “Let’s set this movie up have done for real we’ve done for real, as far as the action
for the next one,” and I always say, “Let’s focus on one great goes. But we really tried to make an original piece, and I
movie first, before we get ourselves involved with anything hope it feels that way.
else.” It’s funny, I always feel like I have this impostor syn-
drome, because I feel so lucky and I’m so happy that I get to L’O:You mentioned filming in five locations. Which one was
do what I really, really, really love. I always feel like, “I hope your favorite?
they’re gonna like it.” There’s never a moment when I’m like,
“They’re gonna love this.” I remember speaking to Francis GG: [We filmed in] Iceland, Morocco, Lisbon, London, and
Ford Coppola, and I asked him, “So how does it feel to be a Italy—in the Alps. They’re all special. I must say I really, really
national treasure?” And he said, “You know, something? I’m enjoyed Lisbon because I had never been there. I enjoyed
always filled with doubts. I’m always afraid they’re not going everything about it as far as the people, the food, and the
to like it. I just follow my heart and I come into it humble.” culture. It was so easy to film there. There was good energy.
I think this was one of the biggest lessons. I’m sitting with
the legend Francis Ford Coppola, and he’s talking about L’O:You’re also doing Snow White, where you’re playing the vil-
how humble and insecure he can get. I was like, “Okay, I lain for a change. How was it to switch to the dark side?
can be insecure all the time.” I feel like now it’s too soon for
me to talk about what it means to me to be the lead for this GG: Amazing, written in all caps. We’re talking about Heart
franchise. Most of all, I hope people are going to enjoy it. of Stone—everything is super realistic. The opposite goes for
And afterwards, if I’m lucky enough to make another Rachel Snow White, and I shot them back-to-back. It was a great
shift. I can’t believe I got to play the Evil Queen, the first evil
villain in the history of Disney. I get to sing and explore my
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48
 MEGAN NORTHAM
Jack-of-all-trades Megan Northam counts singing, dancing, music—she trained for a decade on the cello at
the Nantes Conservatory—and acting among her many talents. Northam’s breakout role came in 2021 alongside
Golden Globe–winning actor Gérard Depardieu in the French comedy Robust. She has been consistently busy
since, soon landing a role in the Netflix series Notre-Dame, in addition to the French drama film The Passengers of
the Night alongside Charlotte Gainsbourg. This year, the French actress stars in Cédric Klapisch’s Amazon
Prime series, Greek Salad, and will be seen in three upcoming feature films: Fifi, Meanwhile on Earth, and Rabia.
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 France’s
The current vanguard of talented French It girls are
gracing our screens—soon to be seen in a variety of KLJKSURùOHUHOHDVHV.
By LAURE AMBROISE Photography PAULINE BAJZAK Styled by VANESSA BELLUGEON

51
 CARMEN KASSOVITZ
For Carmen Kassovitz, cinema is not a profession, but a destiny. The daughter of French actor Mathieu Kassovitz,
the 21-year-old began appearing first in shorts, and then in Antoinette Boulat’s 2021 film My Night and in the
major French thriller series Stalk. In 2022, Kassovitz acted alongside acclaimed French actors Mélanie Laurent and
Pio Marmaï in Tempête, and starred in Helsinki-based director Aino Suni’s coming-of-age film Heartbeast.
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52
 NINA MÉLO
Nina Mélo has come a long way since her breakout role in Olivier Delahaye’s 2013 historical film, Soleils.
The ADAMI award–winning actor’s body of work now includes a diverse array of French favorites,
including Heartbreaker, a romantic comedy by Pascal Chaumiel; Girlhood, a coming-of-age drama by Céline
Sciamma; Orpheline, a drama by Arnaud des Pallières; and Nina, a hit network TV series.
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 NINA ZEM
The daughter of French actor Roschdy Zem, Nina Zem first appeared on the big screen in Our Ties, a 2022 feature
film directed by her father and inspired by their own family’s story. The model-slash-actor, who has walked in
shows for Nina Ricci and Marine Serre, is also a ceramicist, creating organically shaped vessels. Zem has recently
launched a collection of ceramic candlestick holders with Eska Paris.
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54
 KAUDA PHARAON
Kauda Pharaon was inspired to join the world of cinema by her mother, a casting director. Pharaon began to write, direct, and eventually
release the award-winning short horror film Delirium Fantasy, which is currently making the rounds at several festivals. Stepping
in front of the camera, Pharaon also appeared in Rachid Hami’s latest drama, Pour la France, which was released this past February.

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 Daylight
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 FOUND
TRANSLATIONAt 27, Japanese actor Nana Komatsu
embodies the codes of the house of Chanel, is a modern muse
to maison artistic director
Virginie Viard, and is living life by her own rules.

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75
 SUITE
As the star of Netflix’s new
Bridgerton prequel,
,QGLD$PDUWHLùR has found her
place firmly in the spotlight.

Our current setting is certainly worthy of a royal—tucked

away from the drizzling rain in the screening room of a pent-
house suite with sweeping views of Central Park—but, fresh
off of her L’OFFICIEL shoot, India Amarteifio is more cozy
than courtly, snuggled into a fuzzy cardigan and lush slippers.

Still, the star of Netflix’s new Bridgerton prequel, Queen

Charlotte: A Bridgerton Story, doesn’t need ruffled frocks or
haute couture to be regal. Amarteifio started her career on
the stage, appearing on the West End in productions like The
Lion King and Matilda the Musical before making the switch
to TV with roles on BBC mainstay Doctor Who and Disney’s
The Evermoor Chronicles. With the poise and self-assurance
of someone twice her age, the actor reflects on the journey
which has brought her to her first starring role—in one of
entertainment’s buzziest franchises, no less.

By TYLER McCALL
Photography EMILY SOTO
Styled by CALVY CLICK
77
“It was about a five-month audition process of meetings and have to address the whole world; you just have to address the
tapes—and it was all virtual as well, so it didn’t feel very real,” person in your scene.
she says. “I’ve gotten really close to leading parts or very, very
major parts, and it’s never gone my way. I was getting frus- L’O: What was appealing about not just starring in Bridgerton,
trated and I was like, ‘Okay, maybe I just need to get used to but of playing Queen Charlotte specifically?
the idea that I’m not meant to lead; I’m a supporting actor, IA: I mean, what isn’t appealing? It just felt like the right proj-
and that’s fine.’ But I always wanted the challenge, and I feel ect, and the right timing; it felt like it was almost written for
like this was the perfect way to test myself.” me—well, it was written for Golda [Rosheuvel]. [Laughs.] I
just felt an instant connection to it.
The actor didn’t just rise to the occasion; she raised the bar
for the entire series with her portrayal of the young Queen L’O:This is the first time the series really addresses the origins of what
Charlotte. On the day Amarteifio’s cover shoot takes place, they call the ‘Great Experiment.’ How do you view Charlotte’s role
Queen Charlotte: A Bridgerton Story released on Netflix to rave in that?
reviews from hard-to-please critics, though she’s dutifully IA: The Great Experiment is the marriage, the interracial

staying clear of the Internet while Bridgerton fans voraciously union between George and Charlotte, which brings a seg-
binge her big debut. regated society together—which doesn’t come without its
own problems and challenges, but that’s explored in the
“I know how much they love Bridgerton and they love this show. She’s obviously one half of that, and she is the object
franchise,” she says. “I hope that they come away with their in many people’s paths, but also, she is the plow, almost; she
questions answered, that they really enjoy the series, and that is allowing these people to now be integrated into society.
they get to know more about the characters.” She is a leader; she is someone who takes on responsibility,
unknowingly and knowingly. People listen, because she goes
As for herself, Amarteifio has a nice long break planned after against the grain.
she wraps up this whirlwind press tour. “I would like a little
break just to get my head around things and see my family— A lot of it is helped by Lady Danbury [Queen Charlotte’s
and apologize for some of the scenes,” she adds with a laugh, occasional confidante and society’s grande dame in Bridgerton]
referring to the show’s notoriously sexy romps. and her re-reminding of who she is, and the power that she

But once Hollywood gets a glimpse of her starring turn on

Bridgerton, it’s hard to imagine she’ll be free for much longer.
For L’OFFICIEL, Amarteifio shares stories of bonding with
her Bridgerton co-stars, wearing those sumptuous period cos-
tumes, and tackling the new world of red carpet appearances.

What made you want to get into acting?

L’OFFICIEL:
INDIA AMARTEIFIO: I always wanted to dance; I went to performing

arts school when I was 11 to 16. Then I really badly injured

myself, and it made me question the industry and the lifestyle
of something so reliant on my body. I constantly was getting
injured and ill, and it made me look at the reality of the life
of a dancer. I always loved the acting element through dance,
so I made the natural transition that way. But I always wanted
to perform—acting is just more of a newish venture.

L’O: You started on stage; why did you transition into film?
IA: I was about 10 to 12 when I was on stage, so I don’t have
experience as an adult, but it’s very demanding. Every day,
doing the same thing over and over again; it can become quite
monotonous.

At 13, 14, when I started to consider acting, I just wanted a

bit more severity. Sometimes with musical theater, because
there’s so much going on, certain things aren’t looked at with
incredible detail, and I’m all about specifics. Film allows you
to really hone in on tiny, tiny mannerisms that make a mas-
sive difference, because it’s so close, you’re so tight. You don’t

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 ABOVE—Coat, boots, belt, bag, sunglasses, and rings (one used as ear cuff) LOUIS VUITTON
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80
 I’M VERY MUCH AN actor’s actor…
THAT IS MY PASSION AND
my ambitions ARE not MATERIAL.
holds. A lot of that is in George as well, giving her the confi- what they wanted, and they were also asking my opinion, and
dence to lean into that power and not be scared or shy about I think that’s really cool, the collaboration element. I loved
it, and to remember the role that she holds in society is much the clothes as well—I will be purchasing from this collection.
bigger than herself.
L’O: Would you consider yourself to be someone who is really
L’O: How did you work with Arsema [Thomas, who plays Lady into fashion?
Danbury] on that dynamic? IA: Yeah, for sure! I’m very much an actor’s actor—I love acting.
IA: We actually really didn’t film for very long together; I think That is my passion and my ambitions are not material in any
we’ve probably only filmed maybe a week’s worth of content. sense of, “I’m in this industry to get an Oscar” or, “I’m in this
But those moments are so crucial. We had conversations prior industry to be famous.” I think everything that comes with the
to filming about the importance of each scene, which you job is an extension of the job, and part of acting means that
usually do with an actor, but we worked quite individually. I get to now explore other ventures, such as fashion—which
With Charlotte and Agatha [Lady Danbury], they’re two I never really considered until starting the press for this job.
very different people who come together, and I think Arsema Understanding how important it is and how clothes can make
and I already have that understanding of being two Black you feel, it can really transform a mood and an atmosphere.
girls in an industry in which most of the rooms you walk into
are white; in a lot of the scenes, we both are drawing from our L’O: Speaking with actors about their approach to the red carpet,
own experiences as Black women. there are often two camps: those who like to feel like an elevated
version of themselves, and those who like to create a character every
L’O: Obviously, this is Bridgerton, so the story between George time. Which do you feel relates to you?
and Charlotte is quite sexy, but it’s also incredibly intimate with IA: I would say an elevated version of myself. I struggle so

his mental health issues. How did you and Corey [Mylchreest, who much trying to pretend to be someone else. I have to be
plays George] build that rapport? myself, and I have to be comfortable, because otherwise I
IA: I worked quite closely with Corey, and that was really just feel like I’m selling people a lie. I would much rather be
important for me to be able to have that relationship with honest with how I’m feeling, and I feel very fortunate that I’m
him and for us to work as one entity, almost, because George working with people who listen to how I’m feeling.
and Charlotte’s love story is so compelling and so passionate.
There’s a lot of trust that needs to be built. We would do crazy L’O: Obviously, getting your first leading role is huge. What else do
12-hour shoots and then we would come back to the hotel and you hope to accomplish?
do another four hours of just us script-annotating together. IA: I would love to work with Jordan Peele, and I’d love to
work with Martin McDonagh. I would love to do a musical,
The writing, and the direction from our brilliant director, like La La Land or West Side Story. I’m up for anything, as
Tom Verica, was imperative in aiding us and informing us long as I feel my morals align with the job and the people that
on the kind of relationship that George and Charlotte had. I’m working with, and we’re having a good time and people
It’s incredibly intense, probably the most passionate out of all are being treated with respect. I’m all for good vibes, good
the love stories, just because there’s this instant bonding of energy, and good people.
two souls. It’s not an enemies-to-lovers story at all; it’s lovers
and beyond. Their love just deepens, and it becomes more L’O: Bridgerton fans can be very loyal; what reception have you
complex. It’s multifaceted. gotten from fans so far in stepping into this world?
IA: They’ve been great; it’s all been very positive. I was a little

L’O: How was your experience on set at the L’OFFICIEL shoot? bit nervous when it all kicked off and I thought people would
IA: It’s been my favorite shoot I’ve done. From the beginning be disinterested, but I think Golda’s done such a good job
to the end, it was just really seamless. The team knew exactly with Charlotte. People want to know more about her and
the matriarch of this society, so I am very excited for them to
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finally get their content.
Dionne Smith MAKEUP: Karina Milan THE WALL GROUP
HAIR:
PRODUCTION: Taylor LaTorre NAVIA VISION PHOTO ASSISTANTS: Alex Powell and Emma Devereaux
PRODUCTION ASSISTANT: Brionna Carey
[Bridgerton fans] kind of personify a hug; they’re just so car-
Special thanks to the Park Lane Hotel New York ing, and they take you in. I feel very protective of them.
82
 RIPPLE
With several new projects in the works—plus a Bulgari
ambassadorship—Eiza González
is nowhere near ready to slow down.

When you see Eiza González walking down a red carpet, Ambulance—one might assume that she had a penchant for
you wouldn’t know it, but she might just be one of the bus- action thrillers, but she dismisses that observation, saying
iest actors in the business. In late 2022, after wrapping an that most of her decisions are “director-based.” Upon closer
11-month shoot for her upcoming Netflix series The Three inspection, her filmography is, indeed, stacked with projects
Body Problem, the actor flew to Mexico to film La Máquina, helmed by kinetic, acclaimed industry figures. Edgar Wright,
then moved to London for a year (where she is now) to David Benioff and D.B. Weiss, Guy Ritchie—the pattern isn’t
play the only female role in Guy Ritchie’s The Ministry of in the type of film but in the caliber of work by those behind
Ungentlemanly Warfare. Next she heads to New Zealand for the camera. “You’d recognize a Guy Ritchie movie from a
the upcoming movie Ash, followed by a stop in Croatia to mile away,” says González, recalling how grateful she is to the
shoot another project. But that’s how she likes it. “Who else Ministry of Ungentlemanly Warfare director for “taking a risk”
gets the opportunity to say that they can travel the world to on her. “He has allowed me to do things that no other director
do what [they] love? I cannot, in any shape or form, complain. has ever allowed me to do. One that I can probably mention
I’m actually incredibly grateful.” without being a spoiler is that he allowed me [to] play a full
British character, and I have to do a British accent.”
It’s clear that González has a fervent love for a profession that
people spend their whole lives chasing. She also has a shrewd Later this year, González will play a lead in The Three Body
eye for selecting her projects. Based on some of her biggest Problem, a highly anticipated science fiction series from Game
credits—Baby Driver, Alita: Battle Angel, Hobbs & Shaw, of Thrones creators David Benioff and D.B. Weiss, based

By ALYSSA KELLY Photography NICK THOMPSON Styled by OLIVER VOLQUARDSEN

84
 ABOVE—Top ELISSA POPPY Necklace BULGARI HIGH JEWELRY
OPPOSITE PAGE—Dress MUGLER Necklace BULGARI HIGH JEWELRY
PREVIOUS PAGE—Swimsuit DILARA FINDIKOGLU Necklace BULGARI Earrings BULGARI HIGH JEWELRY

87
 Every single decision THAT I MAKE
WHEN IT COMES TO
my career HAS TO BE ALIGNED
WITH what I believe.
on the best-selling novel of the same name by Liu Cixin. like. I wouldn’t be able to carry designs that I don’t like, or I
González views taking on the role as a “huge responsibility” personally don’t feel connected with.”
and “slightly scary,” but rewarding and a way of challenging
herself. While the series is unlike anything she’s ever done, When reflecting on the role, she looks to her fellow ambas-
she also believes it’s unlike anything that’s ever been done. sadors Anne Hathaway, Zendaya, and Priyanka Chopra
“After I educated myself, read the scripts, and read the book, (“all women that I think are multifaceted”) to paint a picture
there was no way I couldn’t be part of this show. I have never of the Bulgari girl—inside and out. “If you pay attention,
seen a show like this. There [isn’t one show or one movie] we are all…chameleons who are willing to be a different
that I can reference...I would have to reference seven different woman every day. That’s the beauty of jewelry. It is a look
types of sci-fi to explain our show. I think that, to me, it was in itself,” she says. “Anne is just a ray of sunshine, and so
a no-brainer. It was groundbreaking.” is [Zendaya], so is Priyanka. All these girls are beautiful,
energetic, independent, and smart, but always kind. You see
With all the work she’s done since beginning her career at them being lovely to everyone, and it just trickles down.”
16, and now being 33, you’d think González would be ready
for a break—but no. She’s not a veteran actor disillusioned As the brand celebrates the Serpenti line’s 75th anniversary,
by the film industry. Instead, she’s still as bright-eyed as the González sees the benchmark as a foregone conclusion of
day she started—maybe even more so. “I’m so happy; I’m so the jewelry house’s innovation. “They find ways to redesign
physically tired, but I am thrilled. And I’m finally being part and revamp the brand, bringing it to a newer generation, a
of projects that really spark my curiosity, and make me feel new decade, a new style, a new look. It never stops being
fulfilled.” She’s booked, she’s busy, and she’s got every door unique, but at the same time identifiable.” She continues, “I
open to her. And she’s taking advantage of all of them. see jewelry the same way I see directors. You can identify
[the artist] by a piece of their art.”
González—now also a Bulgari ambassador—chalks up her
work ethic to her upbringing in Mexico City. “I come from a When asked if her admiration for directors could one day
culture where we work, work, work, work, work. In America, inspire her to step behind the camera, she doesn’t hesitate
some of the hardest working people that you’ll see—under- with her response. “I think that later in my career I really
paid—are Mexican people or Latin people. We have been want to evolve into more of a director because I also really
always taught to work and work harder, and then after you want to prioritize becoming a mother, and giving my children
work harder, work even harder [than that].” time, whenever that happens,” explains González. But even
the prospect of starting a family and beginning another full-
She attributes most of this mentality to her mother, who used time job as a mother doesn’t dissuade her compulsion to work.
to tell her: “You’ll rest when you die.” In a recent full-circle “I think a part of my soul would die if I ever stopped working.
moment, González and her mother were going through fam- I don’t have it in me.”
ily heirlooms at her childhood home, and found, among them,
some Bulgari pieces. “[My mom] had this moment where For now, she’s building a portfolio as a hands-on producer
she said, ‘It is so mind-blowing to me that your grandma (“like what it means to produce, not executive producing”),
gave me this, and I bought these. Your father gave me these though, she admits, the gratefulness and humility that she
necklaces, and now you are a brand ambassador.’” González has for her job was also, at times, a hindrance to her progress.
joined the Bulgari family in 2021, a move that she describes “After a while, I checked out of this mentality of what this
as “personal,” even if she didn’t realize in the moment truly industry sometimes inherently creates within you because of
how much. “Every single decision that I make when it comes the way that it’s systemically built, which is like, ‘You should
to my career has to be aligned with what I believe and what I just be grateful to be here,’ and it was more like, ‘No, I’ve
earned this place. This place is mine. No one gave it to me.
I worked my ass off.’ When I transitioned from being at the
OPPOSITE PAGE—Bodysuit ELISSA POPPY Necklace BULGARI HIGH JEWELRY mercy of it and more into I am going to create, I focused and
88
 I’VE EARNED
this place…NO ONE
GAVE IT TO ME.
,ZRUNHGP\DVVRÿ.
started to do it. I’m doing a couple of projects, which has been
really exciting.”

Similar to some of her contemporaries like Margot Robbie

and Selena Gomez who have also moved into the production
sector, González is focused on telling women’s stories—
something that she’s passionate about on and off screen. “I
think that a lot of the conversations [about womanhood] hap-
pen around either superficial questions, or are about what you
have coming up, or what you’re going to do or achieve. I think
that girls out there might read an interview like this, and feel
like, ‘Oh, my God! She’s unstoppable.’ It can come across as
unattainable. There always has to be a balance, especially now
more than ever, within these types of conversations about the
level of losses that come with this industry.” She specifically
calls out documentaries like Selena Gomez: My Mind & Me
and Pamela Anderson’s Pamela, a Love Story as examples.
“You see how you get on this train, and you can’t stop the
train because it won’t stop for anyone; therefore, you can’t
get off the train. But [you don’t see] what that looks like,
personally, especially as a woman, and how complicated that
is, and how scary that is, because we are thrown into this.”

González recalls her own upbringing as a teen star in

Mexico—she starred in the telenovela Lola, érase una vez
and in the popular teen drama series Sueña conmigo—and
the pressures of fame at such a young age. “I grew up in the
public eye the same way that a lot of these pop culture kids
did—I did it in a different country, but I did it as well—and
the no-tolerance rule for mistakes at such a young age, and
how hard that can be, actually dampens the desire of people
to want to follow their dreams; it becomes something scary.
Because I’m sure that if I’m a girl at home, and I am Selena
Gomez’s biggest fan on planet Earth, but I’m seeing that she’s did something crazy, they were like, ‘He’s cool. He’s a badass.
being dragged through the wringer, you’re going to be like, He’s a heartthrob.’ They like to use the word heartthrob for
‘That’s too scary. I don’t know if I want to do that.’” men when they’re breaking girls’ hearts and having different
girlfriends. But if a woman is in search of her forever partner,
Social media, she believes, is a particularly strong factor in and she’s not one to settle because she knows better, because
this distortion of reality. Seeing someone on a screen, through she’s a hardworking woman and knows her value, and she’s
a filter, in curated moments, can create a false narrative—and like, ‘I am not going to settle for the bare minimum,’ and she
reading the comments can break someone’s spirit. “We need moves on, then, as Taylor [Swift] says all the time, you are
to stop with this idea that we have to show [ourselves to] the [called] a slut, you get slut-shamed, you get called cattle, and
world, and prove that we’re a role model. It doesn’t matter. you get minimized.”
The world is messy and everyone’s figuring it out as they go.
You don’t have to show everything [as] positive all the time. “Yes, I am ambitious, and yes, I date, and I go out, and I will
But what you have to do is honor yourself, honor what you not stay with someone if they’re not making me feel and be
need, and honor your happiness,” says the actor. a better version of myself. If that takes me going through
150,000 people, I will, because I deserve someone who is
Reflecting on the common themes of online criticism, going to make me a better person.”
González hones in on the topic of dating. While she recog-
nizes this is an issue that impacts everyone, “let’s be real; it After 17 years in the industry, González has found satisfac-
happens way more to women than it happens to men.” She tion in doing what she believes is right. “I’ve always done, and
continues, “We grew up with all these idols, and when men I will always continue to do, what aligns with the woman
I really am, which means I am going to continue to make
decisions throughout my life that will align with the values
ABOVE, RIGHT—Dress SAINT LAURENT BY ANTHONY VACCARELLO Necklace BULGARI HIGH JEWELRY
OPPOSITE PAGE—Dress GIVENCHY Earrings BULGARI HIGH JEWELRY
and morals that I have, and my standards, and my expecta-
HAIR: Daniel Martin MAKEUP: Valeria Ferreira THE WALL GROUP tions, which are pretty high. I am not going to settle for less,
MANICURIST: Edyta Betka using Manucurist SET DESIGN: Madeleine Hunter and Josie Hunter
LIGHTING: Benjamin Kyle PHOTO ASSISTANT: Benjamin Kyle and Ian Tillotson
ever.” Because, regardless of her success, she will always “keep
SET DESIGN ASSISTANT: Jack Needel being the same girl [from] Mexico City.”
91
 Black and white. Oversized and shrunken.
Maximalist and minimalist. The choice is yours, but why choose
when it can all be had at once?
Photography DEBORA POTA Styled by VALENTINA FINO
93
 ABOVE—Dress PRADA
OPPOSITE PAGE—Coat, shoes, and tights SAINT LAURENT BY ANTHONY VACCARELLO
PREVIOUS PAGE, LEFT—Top and skirt GUCCI Tights SAINT LAURENT BY ANTHONY VACCARELLO
PREVIOUS PAGE, RIGHT—Bib and skirt JIL SANDER BY LUCIE AND LUKE MEIER Shoes MIU MIU

94
 ABOVE—Bodysuit and gown DEL CORE
OPPOSITE PAGE—Coat Nº. 21 Bra DOLCE & GABBANA Brief PRADA Shoes SAINT LAURENT BY ANTHONY VACCARELLO

97
 ABOVE—Dress MOSCHINO
sunglasses GIVENCHY
OPPOSITE PAGE—Top, skirt, shoes, and

98
ABOVE—Jacket, top, skirt, andbrief DOLCE & GABBANA
OPPOSITE PAGE—Dress and shoes BOTTEGA VENETA

101
 ABOVE—Jacket, skirt, andbelt CHANEL
shoes MIU MIU
OPPOSITE PAGE—Top, skirt, and
HAIR: Francesco Avolio MAKEUP: Alice Fayre PHOTO ASSISTANTS: Andrea Murelli and Alessandra Alba STYLIST ASSISTANT: Francesco Giuliani

102
 Dior introduces its newest haute couture creation that you’ll want
to wear again and again: Rouge Premier.
Blending bespoke beauty with the house codes, the special
lipstick is on a new frontier of luxury beauty.

Since its inception, the house of Christian Dior has been departments converge for the debut of Rouge Premier, a first-
a beacon of haute couture glamour and innovation. It was of-its-kind haute couture lipstick.
Monsieur Dior’s revolutionary New Look that put the maison
on the map in 1947, after all. Celebratory, modern, and with “It’s a part of true luxury,” Philips says. “At the end of the
just a touch of excess (each full-skirted look used about 20 day, we don’t need lipstick, mascara, or perfume to survive.
yards of fabric, indeed a luxury after widespread rationing But for the whole luxury experience, why not treat yourself?
during World War II), the collection laid the groundwork for Make it special with a piece that is unique, that you can keep
the forward-thinking yet timeless ethos of the brand. and refill and appreciate.”

Six years later, in 1953, Dior introduced the perfect compan- Philips had to consider the practicality and meaning of a
ion to his stunning designs: a tube of lipstick by the name of haute couture lipstick. Unlike a haute couture dress, which is
Rouge Dior. The beloved red lipstick quickly became a beauty truly a one-of-one creation, the lipstick needed to embody a
staple among Hollywood’s leading ladies—Grace Kelly often bespoke concept, while also being available in a selection of
wore the shade. Reviving the allure and updating the tube, Dior flagship boutiques across the globe.
creative and image director of Christian Dior Makeup Peter
Philips reintroduced Rouge Dior to the maison’s beauty divi- “The actual essence of what couture is, is more exclusive, more
sion in 2021 as a full collection boasting 75 shades and a personalized, focused on artisanal craftsmanship, and it’s spe-
long-wearing yet hydrating formula. cially made to measure. It’s also a platform to experiment, to
go extreme, in excess even, while still being very respectful
Throughout the history of the maison, the haute couture and towards a silhouette or a personality,” Philips explains. “And
beauty departments have coexisted, transforming over time there are different ways to translate it into makeup—is it
to meet the contemporary woman where she is. And now, custom colors? Custom textures? How far can you go? [Dior
70 years after the maison’s first lipstick was created, the two Beauty doesn’t] have an atelier where people can come in and

By SOPHIE SHAW Photography NICK THOMPSON Styled by THÉOPHILE HERMAND

104
 Dress DIOR HAUTE COUTURE
SKIN:Dior Forever Glow Veil, Dior Forever Skin
Glow 0N, Dior Forever Skin Correct 0N
EYES: Diorshow Brow Styler 032 Dark Brown,
Diorshow On Stage Crayon 099 Black,
Diorshow 5 Couleurs 073 Pied-de-Poule,
Diorshow Iconic Overcurl 090 Black
LIPS: Rouge Premier – Shade 1

PREVIOUS PAGE:
Swimsuit DIOR HAUTE COUTURE
SKIN: Dior Forever Glow Veil, Dior Forever Skin
Glow 0N, Dior Forever Skin Correct 0N
EYES: Diorshow Brow Styler 032 Dark Brown,
Diorshow On Stage Crayon 529 Beige,
Diorshow 5 Couleurs 439 Copper, Diorshow
Iconic Overcurl 090 Black
LIPS: Rouge Premier – Shade 9
CHEEKS: Rouge Blush 047 Miss
Swimsuit DIOR HAUTE COUTURE
SKIN: Dior Forever Glow Veil, Dior Forever Skin
Glow 0N, Dior Forever Skin Correct 0N
EYES: Diorshow Brow Styler 032 Dark Brown,
Diorshow On Stage Crayon 529 Beige,
Diorshow 5 Couleurs 439 Copper,
Diorshow Iconic Overcurl 090 Black
LIPS: Rouge Premier – Shade 9
CHEEKS: Rouge Blush 047 Miss
NAILS: Dior Vernis 840 Rayonnante

107
 Jumpsuit DIOR HAUTE COUTURE
SKIN: Dior Forever Glow Veil, Dior Forever Skin
Glow 0N, Dior Forever Skin Correct 0N
EYES: Diorshow Brow Styler 032 Dark Brown,
Diorshow On Stage Crayon 099 Black,
Diorshow 5 Couleurs 073 Pied-de-Poule,
Diorshow Iconic Overcurl 090 Black
LIPS: Rouge Premier – Shade 5
NAILS: Dior Vernis 111 Night

OPPOSITE PAGE:
Jacket DIOR HAUTE COUTURE
SKIN: Dior Forever Glow Veil, Dior Forever Skin
Glow 0N, Dior Forever Skin Correct 0N
EYES: Diorshow Brow Styler 032 Dark Brown,
Diorshow 5 Couleurs 743 Rose Tulle
LIPS: Rouge Premier – Shade 12

108
Dress DIOR HAUTE COUTURE
SKIN: Dior Forever Glow Veil, Dior Forever Skin
Glow 0N, Dior Forever Skin Correct 0N
EYES: Diorshow Brow Styler 032 Dark Brown,
Diorshow 5 Couleurs 743 Rose Tulle
LIPS: Rouge Premier – Shade 12
NAILS: Dior Vernis 268 Ruban

OPPOSITE PAGE:
Jacket DIOR HAUTE COUTURE
SKIN: Dior Forever Glow Veil, Dior Forever Skin
Glow 0N, Dior Forever Skin Correct 0N
EYES: Diorshow Brow Styler 032 Dark Brown,
Diorshow On Stage Crayon 529 Beige & 664
Brick, Diorshow 5 Couleurs 649 Nude Dress
LIPS: Rouge Premier – Shade 8

111
 FROM THE
MOMENT YOU
OPEN THE
DOOR TO THE
haute couture
house, YOU’RE
PAMPERED…
THAT experience
MAKES YOU AS
A CLIENT FEEL
LIKE YOU’RE
THE only person in
the world.

Dress DIOR HAUTE COUTURE

SKIN:Dior Forever Glow Veil, Dior Forever Skin
Glow 0N, Dior Forever Skin Correct 0N
EYES: Diorshow Brow Styler 032 Dark Brown,
Diorshow 5 Couleurs 429 Toile de Jouy
LIPS: Rouge Premier – Shade 4
CHEEKS: Rouge Blush 028 Actrice

OPPOSITE PAGE:
Dress DIOR HAUTE COUTURE
SKIN: Dior Forever Glow Veil, Dior Forever Skin
Glow 0N, Dior Forever Skin Correct 0N
EYES: Diorshow Brow Styler 032 Dark Brown
LIPS: Rouge Premier – Shades 1 & 6
CHEEKS: Rouge Blush 459 Charnelle

112
 the renowned Bernardaud ateliers. Every
detail of Rouge Premier has been elevated to
couture standards, starting with the formula.
Philips wanted to include exclusive ingredi-
ents to set Rouge Premier apart from Dior’s
other stellar lipsticks. The rich colors are sup-
ported by hydrating ingredients, such as red
hibiscus handpicked from the Dior Gardens
in Burkina Faso, and silky jojoba oil. For an
extra dash of luxury, 24-karat gold micro-
particles are suspended in the matte finish
lipsticks—an addition that Philips admits is
purely for the vanity of including real gold
in the formula, and for showing off the labs’
innovation (Philips emphasizes the challenge
of incorporating the precious metal).

“Gold doesn’t actually do anything to the

lipstick. It doesn’t add luminosity, it doesn’t
really add any long-lasting benefit,” he shares.
“But it’s like when you go to a very exclusive
restaurant and you order that really special
chocolate dessert with a little bit of gold on
top. It doesn’t add anything except you know
that you’re going to eat a bit of gold. And
that’s luxury; that’s decadence. And when
you do it subtly, it’s very chic.”

“It’s the same [as what] happens with haute

couture,” he continues. “When you see the
construction of a dress, quite often it’s an
extremely complicated process to get every-
thing done. Is it necessary to be so compli-
cated? Because you can find easier ways. But
it’s the craftsmanship that goes behind it
that elevates a product from prêt-à-porter to
haute couture.”

do fittings, and we don’t have a catwalk, so the approach is Beyond the fashion terminology for such a high-quality cre-
different. For this launch, we chose to really focus on the haute ation, Rouge Premier can be defined as an heirloom. “The
couture experience. When you go in for a new dress, it is from case can be handed over from generation to generation,”
the moment you open the door to the haute couture house that Philips notes. This sense of longevity is reflected by the case’s
you’re pampered. You go for different fittings; it’s a conversation toile de Jouy pattern, which was the original textile print in
about how you want the dress to be done. That service, that which Monsieur Dior outfitted his first boutique on Avenue
experience, makes you as a client feel like you’re the only person Montaigne. It’s become a timeless symbol of Dior, found
in the world. That’s what we want to project in this collection.” throughout creative director Maria Grazia Chiuri’s collec-
tions. Meanwhile, the lipstick refills offer a sense of novelty,
Rouge Premier comprises 12 universal shades of a brand-new, allowing you to switch out the shade for any mood or occa-
luxe formula, housed in a refillable ceramic case crafted in sion. Philips says there’s room for the brand to expand beyond
the initial 12 shades.
ABOVE:
Dress, Shorts, and Bralette DIOR HAUTE COUTURE
SKIN: Dior Forever Glow Veil, Dior Forever Skin Glow 0N, Dior Forever Skin Correct 0N
“It’s a different way of experiencing your beauty routine,”
EYES: Diorshow Brow Styler 032 Dark Brown LIPS: Rouge Premier – Shades 1 & 6 Philips continues. And what routine would be complete
CHEEKS: Rouge Blush 459 Charnelle NAILS: Dior Vernis 268 Ruban
without beauty tools to go along with the makeup? The mai-
OPPOSITE PAGE: son has created a matching lip brush and mirror designed
Dress DIOR HAUTE COUTURE
SKIN: Dior Forever Glow Veil, Dior Forever Skin Glow 0N, Dior Forever Skin Correct 0N with Bernardaud ceramic in matching toile de Jouy to com-
EYES: Diorshow Brow Styler 032 Dark Brown, Diorshow 5 Couleurs 429 Toile de Jouy plete the collection. Each element is precious yet lasting,
LIPS: Rouge Premier – Shade 4 CHEEKS: Rouge Blush 028 Actrice
reflecting the core of haute couture. Making fantasies a
MAKEUP: Peter Philips using Dior Beauty MODEL: Lera Abova
Sarra Nan MANICURE: Malou DIGITAL TECH: Mitko Frangov
HAIR:
reality: “That’s a bit of the little pleasure you give yourself,”
MAKEUP ASSISTANTS: Elodie Barrat and Sayuri Yamashita LIGHT ASSISTANT: Thomas Pigeon Philips says.
114
 Through Theoreme Editions, David Giroire and Jérôme Bazzocchi
curate an eclectic selection of unique
objects by European artisans and designers.

Experimental design company Theoreme Editions brings wanted to be an auctioneer. I spent a lot of time in the sales
together the visions of contemporary designers with skilled halls of Drouot, and I looked forward every week to the
European artisans. Launched by David Giroire and Jérôme arrival of La Gazette at home,” he says.
Bazzocchi, the brand has just opened its first showroom at
the Palais Royal in Paris. What is the guiding idea behind Theoreme Editions?
L’OFFICIEL:
DAVID GIROIRE: We have exceptional artisans in France, so when

The duo met while working at Dior in 2005. Giroire started we think of furniture for architects or designers, it’s impec-
his own communications agency soon after (his first client cable quality. The prices are always high, and to justify the
was Studio KO), and in 2018 they began to discuss and price, there is often a sort of bourgeois element around it all.
create what would later become Theoreme Editions. “I had Whereas in other countries like Germany, we’ve always found
already studied architecture, design, and lifestyle by work- very perfect objects with a less polished side, and we were
ing with a new guard of young designers like Emmanuelle surprised not to find that in France. This is what we wanted
Simon and Francesco Balzano. And I thought to myself, why to do with Theoreme—making objects of remarkable quality
not take the experiment a little further by managing their but with a fresher aesthetic. So we played with the colors and
images through editing pieces?” says Giroire. “Jerome and materials, like with our plaster lamps; we also worked with
I already collect, and this is where the idea for Theoreme resin, crystal, and stone.
Editions came from.”
L’O:So you selected designers and then the objects were created….
Though Bazzocchi also does not have an education in design JÉRÔME BAZZOCCHI: The first six designers we started working

or architecture, he always had an eye for objects. “At 12, I with were ones that David knew; we had a perspective on

By LAURE AMBROISE
116
their aesthetics and knew what we liked about them. They
were given a brief: “monolithic, sculptural, and minimal.” THE IDEA
WITH Theoreme
They were free to choose the types of objects and materials.
They offered us several ideas, and we curated it all so that it
made sense. We don’t touch the design at all, but we have an
idea of what we want or don’t want. So there is a conversation
with the designers. Editions IS TO
L’O:Had these designers’ work been made and distributed before?
DG: Yes, but they had carte blanche. We did not try to set
challenge the craftsmen
them at a price; the designer offered us drawings with a
few directions and then we edited from there. We chose one
BY PUSHING
piece per designer for which we take into consideration the
typology of the object—the color, the volume—so that the THEIR techniques
collection is coherent as a whole.

L’O:The common thread is that all your designers are French.

AND THEIR limits.
DG: For the moment, yes. Covid made it quite difficult to get

together, but we still managed to have pieces produced all artisan is 75 years old and does not work from a 3D drawing.
over Europe, which was quite a challenge. But for the third JB: The idea with Theoreme Editions is to challenge the

edition, we’ll have European designers. The idea is to be open craftsmen by pushing their techniques and their limits.
and not so French.
L’O:The Theoreme Edition offering is quite eclectic; you are not looking
L’O:You have traveled around Europe to meet the best craftsmen. to decorate an apartment from A to Z.
What was it like to find and work with them? DG: We have indeed tried to find an eclecticism between each

DG: It actually wasn’t so complicated, because we came up of the pieces, be it between a very classic crystal object and a
with a fairly new project, with a creation of rather original much more modern resin bench in order to be able to speak
objects. Artisans often have the habit of replicating the same to different audiences. We would also like to showcase more
gesture to realize the same kind of forms, and they found it unexpected objects.
interesting to work with us to bring their work to another
level. Those who made these armchairs are used to making L’O:And what are your other added values?
banana or bean sofas because that’s the trend. So when we JB: Special attention is paid to design, designers, crafts, etc.
came in with our ergonomic 3D chair, they worked to find We have strong lines but are discreet; we are timeless.
the perfect curve—it was a real sculpture. Especially since our DG: In my opinion, all objects already exist. The challenge

today is to create objects that arouse emotion, to which we

BELOW AND PREVIOUS PAGE—The Theoreme Editions gallery in Paris. Photographs by Mickaël Llorca
can attach ourselves. Each time we observe them, we can
OPPOSITE PAGE—David Giroire and Jérôme Bazzocchi photographed by Valentino Barbieri have a different perception of them.
120
D I O R . C O M - 8 0 0 .9 2 9. D I O R ( 3 4 67 )