W Magazine Volume 2, 2021

W magazine operates at the intersection of fashion, film, art, music, and society, both in print and digitally. With its combination of world-class photography and sophisticated journalism, W is a must-read for anyone interested in the worlds of style and contemporary culture.

United States
W Media LLC
6 Issues

in this issue

2 min

Sofia Coppola and Zoë Ghertner Director and Photographer, “All Dressed Up With Nowhere to Go” (page 106) Did you ever stage photo shoots as a kid? SC: I found some Polaroids from when I was 10—modeling with my friend, in blazers, with French braids, and holding cognac glasses by a large globe in a library room. I was into sophistication! What was the first film you remember seeing that served as a source of inspiration for you? ZG: Not to sound cool, but my mother was in grad school for film when I was in high school, and I remember her bringing home Maya Deren movies. At the same time, The Virgin Suicides came to the video rental store in my tiny town, and I watched that over and over again (and I’m not just…

4 min
masters at work

Planning the Directors Issue, which is now in its fourth iteration, is one of my favorite moments of the year. Collaborating with phenomenal filmmakers at pivotal moments in their career is an honor, and this time around, when so many brilliant women were putting out incredible movies, that was even more true. We were thrilled to work with Regina King, Sofia Coppola, and Emerald Fennell, who were given free rein to conceive and execute their stories as they saw fit. It was fascinating to witness how they approached the process in completely different ways, but with the same degree of dedication. King was first up. I met King a couple of years ago, when we photographed her for our 2019 Best Performances portfolio, and it was clear that she was a…

7 min
my life in parties: alber elbaz

In October 2016, one year after he was abruptly fired as creative director of Lanvin, Alber Elbaz was awarded France’s highest honor, the Légion d’Honneur. “As it was while I was between jobs, I thought, God, who will come? Who will remember me? So we just invited 20 friends to the ceremony,” recalls Elbaz, who sketched the self-portrait at right, and is known for his self-deprecating sense of humor. Unsurprisingly, more than 450 people RSVP’d. “I mean, loyalty is not something that we’re known for in the fashion industry, right?” Elbaz says. “But 99 percent of the people that I’ve met throughout my career and my life I really like. Somehow, bad people don’t get glued to my side. They slide off.” Elbaz’s new AZ Factory line eschews the old…

8 min
space program

The Dia Art Foundation has historically not suffered from low testosterone levels. The quintessential Dia project is Walter De Maria’s The Lightning Field, which was completed in 1977; it consists of 400 pointed stainless steel poles evenly spaced within a rectangular perimeter that measures one mile by one kilometer, and stands in a remote desert tract of western New Mexico, where visitors are required to spend a night in a log cabin in order to interact with the work. Dia is also a patron of two ongoing gargantuan land art constructions: Michael Heizer’s minimalist complex City, covering an area of the Nevada desert about the size of the National Mall in D.C.; and James Turrell’s Roden Crater, the transformation of an extinct volcanic cinder cone in northern Arizona into a…

10 min
change artist

Are the figures in a painting by Christina Quarles taking shape or dematerializing? Solidifying or dissolving? The viewer can’t be sure. That indeterminacy reflects the artist’s sense of who she is. A mixed-race queer woman living in Los Angeles, Quarles was the breakout discovery of the New Museum’s “Trigger: Gender as a Tool and a Weapon” group show in 2017. In that setting, her paintings seemed to be addressing gender fluidity. But, as she told me then, it’s race, not gender, that has preoccupied her since childhood. “Mom is white, Dad is Black,” she explained. “I am fair-skinned and usually seen as white by white people, but I’m seen more as mixed identity in communities of color.” Her racial profile depends on the context of the moment. “My experience is firmly…

10 min
a room of his own

For MOCA director Klaus Biesenbach, 2020 started with a housewarming party. He had just moved into an industrial space in Downtown L.A., originally a sewing machine factory, and hosted a barbecue complete with a firepit and a pizza oven outside. The party drew a good mix of artists, including Mary Weatherford, Barbara Kruger, Doug Aitken, Rafa Esparza, and Simone Forti, who said she was “first to arrive and last to leave”—a minor feat at age 85. A few celebrities showed up as well, including Ricky Martin, a friend of Biesenbach’s whose art-circuit appearances are rare enough that most everybody mistook him for a man who looked a lot like Ricky Martin. Biesenbach’s home, for its part, could pass for an art gallery, as L.A. dealers like David Kordansky and Jeffrey Deitch…