Innehållsförteckning för Volume 1, 2020 från W Magazine

Brad Pitt wears a Celine by Hedi Slimane tank top, pants, and sunglasses; Tom Ford boots; his own jewelry and watch. Scarlett Johansson wears a Burberry dress; De Beers Jewellers drop earrings; all other jewelry her own. Laura Dern wears a Prada jacket, skirt, bag, and sandals. Joaquin Phoenix wears his own clothing and sneakers. Eddie Murphy wears a Giorgio Armani suit, vest, and shirt; his own jewelry and shoes. Chris Evans wears a Prada shirt and pants; Bulgari watch. Jennifer Lopez wears an Alberta Ferretti dress; Gucci High Jewelry earrings, necklace, and bracelet. Adam Sandler wears a Gucci shirt; Brunello Cucinelli pants; Tiffany & Co. necklace; John Hardy bracelet; Van Cleef & Arpels watch; Happy Socks socks; Church’s shoes. Adam Driver wears a Louis Vuitton Men’s suit and shirt;…

When Alexandra Cunningham Cameron, the curator of contemporary design at the Cooper Hewitt, Smithsonian Design Museum in New York, set about organizing a show on the late fashion designer Willi Smith, she found no shortage of material. There was footage of Bill T. Jones and Arnie Zane’s 1984 dance piece Secret Pastures, for which Smith designed the striking costumes. There were renderings of the urban decay–themed showroom that the architecture and environmental arts studio SITE designed for Smith—it featured scavenged chain-link fences, pilfered NYFD fire hydrants, and all manner of half-demolished construction debris. There was Expedition, the film that Smith shot in Dakar, Senegal, with the photographer Max Vadukul, featuring locals, dancers, and Smith himself decked out in hot pink dashikis, pastel suits, and serious statement jewelry. And there were…

It’s a measure of how prominent an art center Los Angeles has become that Serpentine Galleries, the popular contemporary art venue in London, recently appointed Bettina Korek to be its new chief executive. Korek is a native Angeleno and a pillar of the L.A. art scene who currently oversees Frieze Los Angeles, the city’s first major international art fair. But in March, after its second edition wraps, she will be decamping for a drizzlier climate—and one of the most powerful posts in the art world. “It’s the only opportunity for which I would have left L.A.,” she told me. Korek will not be selling her 1920s Spanish-style house in Los Feliz, however, which is where I met her on a disconcertingly hot winter morning. The first thing she wanted me…

Before I started working at W, I always looked forward to its annual Best Performances portfolio, and wondered what it took to make it happen from beginning to end. I got the answer working on this issue, when Editor at Large Lynn Hirschberg called me screaming from the Cannes Film Festival to tell me about Quentin Tarantino’s latest film, Once Upon a Time…in Hollywood. And so it all began. Best Performances (page 90) is now in its 10th year, and to be on Hirschberg’s list has become somewhat of an award in itself, as you can tell from our nine incredible covers. But Hirschberg always makes the point that it’s not just about featuring the most famous movie stars in the world—it’s literally about the year’s best performances across the…

The movies of 2019 were unusually reflective, almost melancholic. When the neon lights go on near the end of Quentin Tarantino’s Once Upon a Time… in Hollywood, an ode to the late ’60s in Los Angeles, it’s as if a bright beacon from another, happier planet were saying, “Don’t forget this place in all its glory.” Instead of Tarantino’s usual pop perspective, the film is awash in emotion—a kind of longing for a time when theaters played double features all day and movie stars did not have social-media accounts. The Irishman, a portrait of a paid killer, is steeped in regret, and Little Women, which tells the story of the four March sisters, is a wistful exploration of female empowerment in the 19th century. Louisa May Alcott’s classic novel, as…

Dries Van Noten invited you to partner with him on his current collection. Afterward you said that had been your “last day in fashion.” Given how well received the show was, do you still feel that way? Yes. It was great and fun because it was just one shot. It was not a “collab,” as they say everywhere now. We found the right word after: It was a “conversation” on summer, allure, the attitude of the time. It helped me see my work more clearly, to consider my 30 years of couture for the first time. On Instagram, I saw how people reacted and how important it was for them. So now I feel out of purgatory when facing my own work. I was not self-confident about it at all…