CULTURE

Even Cindy Crawford’s Kids Thought She Retired

To be clear: She didn’t. The iconic supermodel who just keeps going and going looks back.


Photographs by Mario Sorrenti, Styled by Edward Enninful

Cindy Crawford has done about as much for the modeling industry as anyone. She not only invented our idea of the modern supermodel in the 90’s — along with Christy Turlington, Naomi Campbell, Claudia Schiffer, and Linda Evangelista — but she redefined a model as a businesswoman, creating a retail empire fronted by her all-American sex appeal. For our Royals porfolio, we paired the icon with a similarly shapely model of the moment, Irina Shayk.

Cindy Crawford

What was story of your first modeling job? Well, I grew up in a small town in Illinois called DeKalb. Modeling wasn’t even a dream that I had because I didn’t know it was a real job or something that people could aspire to. I actually think that my dad thought model was a nice word for prostitution. So I didn’t grow up dreaming about fashion or being a model. I did, however, look at Seventeen magazine, and I had Calvin Klein jeans, and Gloria Vanderbilt jeans, so I knew Brooke Shields. I loved Phoebe Cates. That was kind of my first little introduction to fashion. And there was a local photographer in my town. His name was Roger Legal, and he shot parades, football games… If a house burned down, there was Roger. And he saw me at a high school football game and asked if he could photograph me for a “co-ed of the week” thing they had at the university in my town, which was normally a college girl. And of course my parents insisted that they chaperone me because they thought he was just a creepy guy. [Laughs] He did this picture of me in the backyard of my boyfriend at the time, laying by the pool in a swimsuit. I had to do my own hair and makeup. And that was it — the first time I did a picture.

And did you ever think about getting rid of your mole? Because your mole is so fantastic. My mole has a life of its own. [Laughs]… I think especially when you’re young, you don’t want anything that sets you apart and makes you different. And then when the very first modeling agency told me that I should think about removing it, I went to my mom. I was like, “Please. Even a modeling agency says I should remove it.” And my mom gave me great advice. She was like, “Okay. We can go, you know, we can inquire about getting it removed.” But she said, “Just remember, you know what your mole looks like and you might get a scar and you don’t know what that will look like.” The great thing is that she didn’t tell me no. She let me make my own decision, and I ended up obviously keeping it.

Smart move. There were times in the beginning where you can find pictures where they’ve retouched my mole out, and it’s weird because they don’t look like me. But then eventually I did a Vogue cover where the mole stayed, and after that it was never an issue.

So was the American Vogue cover the moment when you knew that you had passed a certain mark in terms of making it, so to speak? I definitely think for a model, especially my generation of models, there was really no bigger seal of approval. I’m not sure there really is today, either. So I shot with [Richard] Avedon shortly after I committed to living in New York, and I had my first Vogue cover in 1986, in August, which apparently isn’t a very good month according to Linda Evangelista. But I was still excited about it.

And what was Avedon like? Oh, I loved working with Richard Avedon. It was so different because he used the large format cameras and so he had to go under the cloth. You know, like an Arthur Elgort. He’s like click, click, click. When you’re shooting with the slower, bigger format cameras, you have to funnel all of that energy into that one take, that one shot, and I feel like Avedon was helping you do that. He wanted all this energy, but at the same time, you had to be very precise. So I learned a lot from him because you couldn’t just be crazy jumping all over the place, but you still had to infuse the photograph with energy.

Did you feel that you had a relationship with the camera? Did you feel that the camera was somebody that you personify in some way, or was it the photographer that you were interacting with? I didn’t start out having a relationship with a camera. If you think about it, none of us did back then, because remember your grandma would get out the camera with those flash bulbs and if you happened to be the one with the closed eyes, too bad for you ‘because that picture ended up on her wall for the rest of her life. So I didn’t understand anything about taking pictures but my first mentor was Victor Skrebneski, a great Chicago photographer, old school like the [Irving] Penns and the Avedons, and he really taught me so much about understanding clothes, light, and how to fill the space.

And then I worked with other great teachers like Patrick Demarchelier and Herb Ritts so that slowly, even if maybe I didn’t have an incredible rapport with whoever was behind the camera, I was able to call upon past experiences and bring that to the table. But you know, the thing is you normally do develop a relationship with the photographer and the team — the hair, the makeup, all of that — which to me is what makes modeling fun. Each day is like a little film set that becomes your family. That’s my favorite part of my job.

There are some quotes from early on during your career about how “Cindy Crawford” was a character that you played. When did you come up with that character? You became so famous that it was healthy for you to separate the two, in a sense. It’s not so much that I came up with this character of Cindy Crawford, but it kind of emerged in how people saw me and where I fit in that group of other supermodels. We all looked different but we looked good together as a group: Christy [Turlington] was the classic beauty, and Naomi [Campbell] was the mover. Linda [Evangelista] was the chameleon. So we had our roles. I think I was kind of the sexy, all-American girl next door. That’s how people saw me and then that’s how people would photograph me.

And in a way, even though you were not from there, you seemed like the ultimate California girl. [Laughs] For a girl from Illinois, I spent a lot of time on beaches in bathing suits, a lot of them with Herb Ritts, who certainly was one of the most important photographers in my career. I think I would say that Herb wanted people to be the best version of themselves, so that’s kind of what he brought out in you. I happen to love the way that Herb saw me, which was strong and sexy. We did a lot with makeup but it was more like how you wish you looked when you woke up in the morning.

I think your Playboy issues were the best sellers ever. They were huge, huge, huge. Oh really? That’s cool. I did decide to do Playboy a second time. They came back 10 years later [the first time was in 1988]. First of all, I thought that was cool to be asked ten years later, but also with Herb Ritts again. We went to Mexico and we did it in color. I really love the pictures. We definitely pushed it a little further, but I was also 10 years older and as you get older, you have appreciation that your body might not look like that for the rest of your life. I was like, “I’m gonna like having these pictures at some point.” And it’s funny. One of the pictures from the second Playboy shoot I have in my bedroom and I hardly have any pictures of myself up in the house. Actually, I only have two and they’re both by Herb — one is from the first Playboy shoot but it was actually for French Vogue, but whatever. It was on that shoot and it’s me from the back coming out of the water.

Oh, I know that picture. It’s a postcard. That’s a gorgeous picture. Yeah, I love that. Herb gave me a print of that, so I have that one, and there’s another print that he gave me from the second time we did Playboy that I would only ever have in my bedroom because I wouldn’t want the plumber seeing it. But it’s just really strong and I think it’s a testament to my relationship with Herb, that I trusted him that much. It’s interesting because I thought about this recently. I don’t think I would have done that shoot in this day and age of digital technology, where everyone has their cell phone out on every shoot and every angle. I don’t care how great your body looks, it doesn’t look great from every angle all the time. When I knew Herb was just in front of me with the camera, I could focus all my energy on making it look great for him. There’s no monitor where people can, you know — not every exposure is good. Part of the photographer’s job is to direct you — “Oh, arch your back more” — but also to edit and pick the right one. But now, the caterer’s walking by and he’s saying, “Oh, I like that.” I mean it’s changed so much and I think for me, there would be a lack of a sense of intimacy that was required to do those kinds of shoots.

So tell me about retiring or not retiring. I was recently quoted and I probably did say that I’m retiring but it’s kind of a joke that I have with my kids because every year, I’m like, “I’m slowing down, I promise.” And then I’ll put a book out and they’re like, “I thought you were retiring.” So I did an interview right after my book tour. I was exhausted and I think I said, “Oh, I’m retiring.” But it was a joke. And then it came out and I didn’t really want to say I’m not — I’m shifting my focus. I think the truest thing is that when I did my book, I didn’t realize how the process of doing my book and taking all that time to look back and reflect on where I’d been, it really enabled me to go, “Wow, that was awesome. What a great chapter of my life that’s been. Now what?” And I’m ready for what the “now what” is, but I’m sure the “now what” will still require me at times to be in front of the camera. I mean, I have a skin care line. I have a furniture line. I still work with Omega watches. I did a commercial last week.

I think the biggest change is more in the way that I’m approaching work and my career, so I probably should have just kept my mouth shut because no one would have had to know that I’m approaching my career differently other than me. And I think after doing the book, it’s like, “Okay, I was a model and that was great.” Now what?

But I think it’s important that people like you continue to model even in a limited sense, because you do look amazing and I think it’s very inspiring to people. And I think it actually makes people think that you can be beautiful at any point if you work hard at it. You obviously are working with extremely good material, but still you’re yourself and you have great presence. And that’s a great thing for people to see. Well, thank you, but I think also I want to continue learning more, and evolve. Something I say to my kids and myself is, “It’s like when your plate’s full, there’s no room for anything else so you have to take some things off to make room for the brownie or whatever the really good thing is at the end.” So I’m just trying to make a little room on my plate.

Who is royalty to you in fashion or photography? I mean Karl Lagerfeld popped in my head as royalty. Carine [Roitfeld]. Anna Wintour. I think for me, royalty is more about a Jane Fonda, people who have stood the test of time, who’ve put the hours. It’s not just a one-hit wonder. They’re an institution.

Were you photographed by Irving Penn? I was. I actually wrote a chapter about Mr. Penn in my book and just how much I learned from him because he was really a master, old school. If you could just learn from him, you could take what you learned from him with you to other studios and put it in front of other photographers. It wasn’t necessarily fun working with Penn, but it was like a master class.

Our mutual friend, [MTV “House of Style” creator] Alisa Marie Bellettini just died. I heard that. I learned so much from her. She loved fashion. It’s funny because for someone who’s spent her whole life around fashion, I love it but I’m not like a fashionista. I’m not like obsessed with it. I like storytelling. I figured out what I love most about modeling is communicating whatever we decide the story is for the day. But Alisa loved fashion and when she asked me to be part of “House of Style” on MTV I got to see her love of fashion paired with my access. She made me have an appreciation [for fashion]. It was like she opened my eyes to how lucky I am to get to even wear a couture gown. I mean, it’s amazing.

For the Met Ball, the seamstress was at my hotel for five hours because all the little mirrors were hand done, and she was just making sure every one laid perfectly. When a dress is made for you and you put it on the first time, it’s incredible.

You didn’t keep things, though? You’re more of a jeans and t-shirt kind of a person. I have kept a few things. I wasn’t ever good at asking for things, and there were other models who were really good at asking for clothes, or just taking clothes. That was never really my thing. But I remember when we used to do Chanel shows, we would always could go down to the boutique afterwards and — like I have a couple of great classic Chanel jackets that I saved. Azzedine [Alaia], of course. He would always give us clothes. I’ve tried to save some great pieces just for my archives but also I think there are pieces that my daughter is just dying to get into. She’s not quite my size yet, but she’s excited to inherit all of that.

The 2016 Royals: Priyanka Chopra, Cindy Crawford, Chris Evans, Kanye West and More

Priyanka Chopra wears Burberry XO Barneys New York dress. Beauty: Burberry.

Hair by James Pecis for Oribe Hair Care; Makeup by Aaron de Mey at Art Partner; Manicures by Honey at Exposure NY. Set design by Philipp Haemmerle.

Photographs by Mario Sorrenti, Styled by Edward Enninful.

Julia Louis-Dreyfus wears Carolina Herrera dress; Pomellato earrings. Beauty: Nars.

Hair by James Pecis for Oribe Hair Care; Makeup by Francelle. Manicures by Honey at Exposure NY. Set design by Philipp Haemmerle.

Photographs by Mario Sorrenti, Styled by Edward Enninful.

Irina Shayk wears Prada dress, harness, corset, belt, charm, agenda, tights, and shoes; Bulgari ring. Beauty: L’Oréal Paris.

Photographs by Mario Sorrenti, Styled by Edward Enninful.

Halle Berry wears Versace gown; Pasquale Bruni ring. Beauty: Revlon.

Hair by Castillo; by Aaron de Mey
 at Art Partner; Manicures by Honey at Exposure NY; Set design by Philipp Haemmerle.

Photographs by Mario Sorrenti, Styled by Edward Enninful.

Elle Fanning wears Gucci gown; Bulgari earrings; Dior Fine Jewelry rings; Marc Jacobs shoes. Beauty: Gucci.

Hair by James Pecis for Oribe Hair Care; Makeup by Fulvia Farolfi for Chanel;Manicures by Honey at Exposure NY. Set design by Philipp Haemmerle.

Photographs by Mario Sorrenti, Styled by Edward Enninful.

Jodie Foster wears Giorgio Armani dress; Harry Winston earrings; Mish New York cuff. Beauty: Giorgio Armani.

Hair by James Pecis for Oribe Hair Care; Makeup by Aaron de Mey at Art Partner; Manicures by Honey at Exposure NY. Set design by Philipp Haemmerle.

Photographs by Mario Sorrenti, Styled by Edward Enninful.

Kanye West wears Yeezy Season 3 hoodie and pants. Grooming: Clinique.

Hair by Ibn Jasper at Frank Reps. Makeup by Aaron de Mey at Art Partner; Manicures by Honey at Exposure NY. Set design by Philipp Haemmerle.

Photographs by Mario Sorrenti, Styled by Edward Enninful.

Chris Evans wears Berluti tuxedo; Simon Miller shirt; Tiffany & Co. watch. Grooming: Giorgio Armani.

Hair by James Pecis for Oribe Hair Care; Makeup by Aaron de Mey at Art Partner; Manicures by Honey at Exposure NY. Set design by Philipp Haemmerle.

Photographs by Mario Sorrenti, Styled by Edward Enninful.

Kit Harington wears Hermès suit; Vince hoodie; Boss T-shirt. Grooming: Aramis.

Grooming for Harington by Johnny Hernandez at Fierro Agency. Manicures by Honey at Exposure NY. Set design by Philipp Haemmerle.

Photographs by Mario Sorrenti, Styled by Edward Enninful.

Ethan Hawke wears Louis Vuitton coat; Simon Miller T-shirt; AMI Alexandre Mattiussi trousers; Church’s shoes. Grooming: Dior Homme.

Hair by James Pecis for Oribe Hair Care; Makeup by Fulvia Farolfi for Chanel; Manicures by Honey at Exposure NY. Set design by Philipp Haemmerle.

Photographs by Mario Sorrenti, Styled by Edward Enninful.

Rami Malek wears No. 21 sweater; Prada pants, socks, and shoes. Grooming: Chanel.

Hair by James Pecis for Oribe Hair Care; Makeup by Aaron de Mey at Art Partner; Manicures by Honey at Exposure NY. Set design by Philipp Haemmerle.

Photographs by Mario Sorrenti, Styled by Edward Enninful.

New Royalty: Television “When I was a teenager, I was a tomboy and had scars on my legs. But then I taught myself to take care of my body and my hair. It takes time, but if I can do it, anybody can. Today, my legs sell 12 or 15 products in my part of the world.”

Alexander McQueen jacket and dress; La Perla bra and shorts; Harry Winston ring.

Hair by James Pecis for Oribe Hair Care; Makeup by Aaron de Mey at Art Partner; Manicure by Honey at Exposure NY.

Photographs by Mario Sorrenti, Styled by Edward Enninful

Classic Royalty: Television “I don’t approach my work from a gender point of view. If people are talented, be they men or women or transgender, I’m into it. I want to play ball, and I want to play hard. And if you can do that with me, then we’re going to get along great.”

Oscar de la Renta dress; La Perla bra.

Hair by James Pecis for Oribe Hair Care; Makeup by Francelle; Manicure by Honey at Exposure NY.

Photographs by Mario Sorrenti, Styled by Edward Enninful

Classic Royalty: Superhero “In the 6th grade, I played the supporting lead in a play called “Crazy Camp.” I ended up dating one of the more popular girls as a result. The second the play was over, she dumped me. So, at a young age, I learned the power of getting a good role.”

Melet Mercantile T-shirt; Rag & Bone Standard Issue jeans.

Hair by James Pecis for Oribe Hair Care; Makeup by Aaron de Mey at Art Partner; Manicure by Honey at Exposure NY.

Photographs by Mario Sorrenti, Styled by Edward Enninful

New Royalty: Superhero “In Doctor Strange, I play Baron Karl Mordo, the first person to introduce Dr. Stephen Strange into a mystical, weird, and wonderful world. Mordo can transport between dimensions, and I studied quantum physics to understand the science behind his powers. Personally, I would rather be able to make myself invisible.”

Burberry jacket and trousers; Prada sweater.

Hair by James Pecis for Oribe Hair Care; Makeup by Aaron de Mey at Art Partner; Manicure by Honey at Exposure NY.

Photographs by Mario Sorrenti, Styled by Edward Enninful

New Royalty: Model “I hadn’t planned to be a model, but I went to beauty school and was discovered there. My big break was in 2007: the Sports Illustrated swimsuit issue. Being Russian, I never imagined my career would involve swimsuits—I was raised with snow, and warm coats sounded a bit better to me. A swimsuit model has to stay in shape all the time. I love food, even though people think models don’t eat.”

Miu Miu dress, stole, and stockings; ring from Stephen Russell, New York.

Hair by James Pecis for Oribe Hair Care; Makeup by Aaron de Mey at Art Partner; Manicure by Honey at Exposure NY.

Photographs by Mario Sorrenti, Styled by Edward Enninful

Classic Royalty: Model “I grew up in a small town in Illinois, and I didn’t even know that modeling was a real job. My dad thought that ‘model’ was a nice word for prostitute. I did, however, have Calvin Klein jeans, and I knew about Brooke Shields and Seventeen magazine. That was my introduction to fashion.”

Stella McCartney dress; Curriculum Vitae bra.

Hair by James Pecis for Oribe Hair Care; Makeup by Aaron de Mey at Art Partner; Manicure by Honey at Exposure NY.

Photographs by Mario Sorrenti, Styled by Edward Enninful

New Royalty: Fashion “I have eight older sisters, so I started thinking about fashion when I was very young. I would customize clothes on my best girlfriend—­putting together a man’s shirt with a Victorian dress. And, being a classic Leo, I would always give my opinion to my sisters. I would watch them put on makeup, and I’d tell them what I thought, which wasn’t always welcome. Of course, now they all wear my clothes. They are obsessed.”

Tisci’s own Givenchy by Riccardo Tisci sweater.

Hair by James Pecis for Oribe Hair Care; Makeup by Aaron de Mey at Art Partner; Manicure by Honey at Exposure NY.

Photographs by Mario Sorrenti, Styled by Edward Enninful

Classic Royalty: Fashion “I didn’t mind putting my name on underwear. Jockey had its name on the waistband, so why shouldn’t I? My daughter, Marci, said in an interview that it was strange to have sex with men who had my name on their underwear. I told her, ‘That’s not funny.’ But it is funny—just not when it’s your daughter.”

Klein’s own clothing.

Hair by Thom Priano for R+Co at Garren New York; Makeup by Régine Thorre; Manicure by Honey at Exposure NY.

Photographs by Mario Sorrenti, Styled by Edward Enninful

New Royalty: Superhero “The costume for Supergirl is cute, but it’s difficult to put on. It’s not a one-person job: There’s a bodice on top of which muscles are added, because ain’t no way that I am that muscular. And the cape is its own special thing. The costume lives under lock and key. If I wanted to wear it for Halloween, I’d have to stage a mission to steal it.”

Valentino dress; Tiffany & Co. necklace.

Hair by James Pecis for Oribe Hair Care; Makeup by Fulvia Farolfi for Chanel; Manicure by Honey at Exposure NY.

Photographs by Mario Sorrenti, Styled by Edward Enninful

Classic Royalty: Superhero “I loved being Catwoman. I was a gymnast growing up, so I got to use all of those skills for the role. I hated cats going into it, but I learned about the psychology of them—and I came out of that movie a die-hard cat lover.”

Alexandre Vauthier dress.

Hair by Castillo; Makeup by Aaron de Mey at Art Partner; Manicures by Honey at Exposure NY.

Set design by Philipp Haemmerle.

Photographs by Mario Sorrenti, Styled by Edward Enninful

Classic Royalty: Television “On Game of Thrones, there were a couple of weeks when it looked like I was going to die. I thought, Maybe this is it. Then I found out I wasn’t going to die, so I had to keep this massive secret from everybody. I did tell my parents, though: ‘All right, Mom and Dad, you’re in on this now.’ They then went about lying to everyone. They relished it, I think. They’re quite dramatic, my parents.”

Derek Rose pajama set.

Grooming by Johnny Hernandez at Fierro Agency; Manicure by Honey at Exposure NY.

Photographs by Mario Sorrenti, Styled by Edward Enninful

New Royalty: Television “I am a troublemaker, for sure. I have a pretty cool scene coming up in Mr. Robot, and I’ve already talked to my makeup artist about bringing something that is not going to go over too well with the costume department: blood. A lot of blood. Our costumes are one-of-a-kind, so I could get into a lot of trouble. But you’ve got to take some risks in life.”

Prada pants, socks, and shoes.

Hair by James Pecis for Oribe Hair Care; Makeup by Aaron de Mey at Art Partner; Manicure by Honey at Exposure NY.

Photographs by Mario Sorrenti, Styled by Edward Enninful

New Royalty: Renaissance Woman “My parents always encouraged us to do what we believed in. There’s a funny interview from when I was 5 or 6 years old: My dad is interviewing me, and my mom walks in and says, ‘You are Wonder Woman.’ That’s one of my most vivid childhood memories.”

Chanel Haute Couture dress; Cartier bracelet; Chanel flats.

Hair by James Pecis for Oribe Hair Care; Makeup by Aaron de Mey at Art Partner; Manicure by Honey at Exposure NY.

Photographs by Mario Sorrenti, Styled by Edward Enninful

Classic Royalty: Renaissance Woman “I don’t think I’m particularly brave. I’m confident in my opinions about making films, but there are tons of things that I’m really just a child about. For instance, I have a fear of picking up the phone and asking someone, ‘Would you like to have lunch with me?’ Little things that other people learned in Adolescence 101 have always scared me.”

Saint Laurent jacket and trousers; Boss turtleneck; (right hand) Repossi ring.

Hair by James Pecis for Oribe Hair Care; Makeup by Aaron de Mey at Art Partner; Manicure by Honey at Exposure NY.

Photographs by Mario Sorrenti, Styled by Edward Enninful

New Royalty: Independent Film “I was 10 years old, going to a small public school in Palestine, Texas, when casting directors came through and asked kids to audition for a movie. The film was The Tree of Life, directed by Terrence Malick. They saw around 10,000 kids, and I ended up getting the role. I’m 19 now, and I have been acting ever since.”

Prada jacket and pants.

Hair by James Pecis for Oribe Hair Care; Makeup by Fulvia Farolfi for Chanel;Manicure by Honey at Exposure NY.

Set design by Philipp Haemmerle; Lighting technician: Lars Beaulieu; digital technician: Johnny Vicari; photography assistants: Felix Kim, Javier Villegas; fashion assistants: Ryann Foulke, Dena Giannini, Sam Walker, Anastasya Kolomytseva Anita Lau; hair assistants: Adlena Dignam, jennifer kim, dale delaporte; makeup assistants: Tayler Treadwell, Mariko Hirano, Robert Reyes, Takahiro Okada; set design assistants: Theo Volpatti, Ryan Stenger, Valentin Haemmerle, Matt Solis; special thanks to Highline Stages and Spring Studios, New York.

Photographs by Mario Sorrenti, Styled by Edward Enninful

Classic Royalty: Independent Film “I did Born to Be Blue, the story of Chet Baker’s midlife crisis, because it was something I could relate to. I was 18 when Dead Poets Society came out, and that success didn’t leave me far to go. We all like to feel that we’re growing better and stronger and improving every year of our lives, but when you peak at a young age, you have a long way to fall.”

Jil Sander sweater; AMI Alexandre Mattiussi trousers.

Hair by James Pecis for Oribe Hair Care; Makeup by Fulvia Farolfi for Chanel; Manicure by Honey at Exposure NY.

Photographs by Mario Sorrenti, Styled by Edward Enninful

Classic Royalty: Renaissance Man “To me, Will Ferrell is royalty. He is one of my personal gods. I would like Will Ferrell to play me in The Kanye West Story. Can you make that happen?”

Yeezy Season 3 sweatshirt; Hoorsenbuhs necklace.

Hair by Ibn Jasper at Frank Reps; Hair by Ibn Jasper at Frank Reps; Manicure by Honey at Exposure NY.

Photographs by Mario Sorrenti, Styled by Edward Enninful

New Royalty: Society “Growing up, we lived in the Waldorf Towers. My classmates used to call my sister, Paris, and me the Eloises of the Waldorf. If there were events in the ballroom, we were always sneaking in and spying on people. We did everything but order room service. Room service was off-limits.”

Philosophy di Lorenzo Serafini cape and dress; Nili Lotan dress (underneath); Chopard earrings; Harry Winston necklace; Chanel Fine Jewelry rings; Wolford tights; Miu Miu pumps.

Hair by James Pecis for Oribe Hair Care; Makeup by Fulvia Farolfi for Chanel; Manicure by Honey at Exposure NY.

Photographs by Mario Sorrenti, Styled by Edward Enninful

Classic Royalty: Society “I have always loved fashion and was lucky enough to live through the era of great couture designers. In the early ’80s, Azzedine Alaïa took a piece of jersey and draped it on me. He then took chalk and marked out the dress on my body. When I received the finished dress, it was stitched where he had placed the chalk marks. It fit like a glove then. Now it fits more like Spanx.”

RR 331 by Ralph Rucci coat and top; earrings from Stephen Russell, New York; Munnu the Gem Palace bangles; Perrin Paris gloves.

Hair by James Pecis for Oribe Hair Care; Makeup by Aaron de Mey at Art Partner; Manicure by Honey at Exposure NY.

Photographs by Mario Sorrenti, Styled by Edward Enninful
1/30