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What’s the secret to a longer life? For that, there’s a promising new body of scientific research that youth-seekers will find compelling. Here, five easy habits that might extend your lifespan—worth exploring.   Go Vegan(-ish) Last summer, a group of Harvard Medical School and Massachusetts General Hospital researchers revealed the hidden virtues of plant protein. After tracking more than 131,000 patients for up to 32 years, the study found that swapping out processed red meat (sausage, bacon) for plant versions (beans, nuts, legumes) was linked to a lower mortality rate. The authors suggest that people should consider eating more plant proteins than animal proteins. Research fellow Mingyang Song added that fish and chicken are likely better choices than red and processed meat. Add Spice A recent study from the University of Vermont found that hot red chili peppers were linked to a 13 percent decrease in mortality, largely from heart disease or stroke. The data tracked well with earlier findings, and left researchers suspecting that the capsaicin in peppers may positively alter gut health and prevent obesity. Get a Little Sun Despite the common wisdom that sun exposure leads to increased skin cancer risk, studies have consistently found that incidental sunbathing is linked to a longer life. Last year, one survey of nearly 30,000 Swedish women found an association between some sun exposure and a decrease in heart disease, potentially thanks to vitamin D. “We found smokers in the highest sun-exposure group were at a similar risk as non-smokers avoiding sun exposure, indicating avoidance of sun exposure to be a risk factor of the same magnitude as smoking,” said Dr. Pelle Lindqvist. Simply taking a mid-afternoon walk—or exchanging your weekly elliptical session for an outdoor run—might make all the difference. Drink Coffee The health benefits of coffee are well-documented, but the support keeps coming. This month, Stanford University researchers delved into the drink’s anti-inflammatory properties, which may have a real anti-aging effect. “That something many people drink—and actually like to drink—might have a direct benefit came as a surprise to us,” wrote study co–senior author Mark Davis. “What we’ve shown is a correlation between caffeine consumption and longevity.” A moderate amount—no more than three to five cups per day—could work wonders. Don’t Give Up Social Media Contrary to popular belief, Facebook and other social media sites may be good for you. A recent paper claims that online social connections generally mimic the positive effects of real-world friendships—improved brain health, psychological well-being, and an overall longer life. Who would’ve guessed?  

The post How to Live Longer in 5 Easy Steps appeared first on Vogue.

Shared, borrowed, or stolen—swapping clothes between sisters is all part of the territory. Kendall and Kylie Jenner admit to regularly supplementing their own closets with items sourced from the other, and now another pair of siblings is continuing the trend. Models Gigi and Bella Hadid were spotted en route to Sunday brunch over the weekend, with Bella in what appeared to be a pair of button-fly trousers we saw on Gigi just days prior. When the sisters headed to lunch together today in New York, Bella wore the exact same Majorelle leopard-print coat first spotted on her big sister. While Gigi went the rock star route, pairing hers with shredded black denim, Bella opted for a more modern take in Blank NYC leather pants with intricate embroidery. A Supreme Box Logo hoodie was also of-the-moment—the cult streetwear brand just announced a collaboration with Louis Vuitton at Men’s Fashion Week in Paris. With Stuart Weitzman stretch-velvet boots on her feet and a Givenchy bowler bag in hand, Bella seemingly made the look her own. Maybe Gigi will let her keep the coat?   Bella Hadid’s Jet-Lag Beauty Survival Guide

The post Is Bella Hadid Borrowing From Gigi’s Closet? appeared first on Vogue.

  For some, turning 30 is a monumental event—one that’s marked by a certain no-tricks confidence that extends all the way to a newly pared down makeup bag. But before you’ve established a signature look, there is the gloriously experimental decade that’s known as your 20s: Now is the time to dip into pots of glitter pigment, embrace the cult cool of chic nail art, and scoop up that acid pink Gucci fur coat while you’re at it. Play to your wild side with a jolt of lively neon blush, à la Chanel’s Spring 2017 show, or try on a neo-noir lipstick for an unexpectedly bold twist. To channel the eternal allure of Anna Karina or Amy Winehouse, a stroke of inky black liquid liner is all that’s required. Above, five fearlessly playful trends to check off your list now.    

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Rihanna’s transition to Hollywood continues. On Tuesday, Entertainment Weekly released two exclusive images of the pop singer in her first-ever TV role in A&E’s horror series, Bates Motel. (The show, which explores the early life of Alfred Hitchcock’s crazed murderer, Norman Bates, was apparently a favorite of RiRi’s.) Last summer, Rihanna was cast as the doomed Marion Crane—aka the woman who meets her fate behind a shower curtain—for the show’s fifth and final season. The original role in the 1960 thriller, Psycho, launched actress Janet Leigh into worldwide fame, and her murder scene is still one of the most iconic moments in film history. So who better than the one and only Bad Gal RiRi to make the part into her own? Below, a first look of Rihanna as Marion Crane in the trailer of the new season of Bates Motel.   Kendall Jenner, Cara Delevingne, and more of Rihanna’s Navy pay tribute to “Work”:

The post Watch Rihanna Make Her TV Debut in a Hitchcock-Worthy Cameo appeared first on Vogue.

After a much buzzed-about (in ways both good and bad) Season 4 show on Roosevelt Island, Kanye West’s Yeezy collection is returning to New York Fashion Week this February for its Season 5 iteration. According to a press blast, Yeezy will show on Wednesday, February 15, at 5:00 p.m., a slot between Anna Sui and Thom Browne, currently also occupied by Marchesa. Unlike past seasons, where West took over Madison Square Garden and the bottom half of Roosevelt Island, this season’s show is slated to take place at Pier 59 Studios at Chelsea Piers. That venue, which provides designers a studio format they can rework into a presentation or a runway show, is much more familiar to the fashion set—and much easier to access. As for the collection, West and Kim Kardashian West have been teasing Calabasas-branded merchandise on social media for nearly a year, leading fans to believe a release of the city merch is imminent. If the Wests’ new Instagram style is anything to go by, the suburban ’90s vibe will also be strong. Check on February 15 for live coverage of every look and all the Kardashian sightings of the day.  

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Gigi Hadid’s shoe game is truly in a league of its own. After the supermodel wore Stuart Weitzman over-the-knee boots this time last year, stylish women followed in her footsteps the world over. In October, Hadid turned the trend up a notch when she unveiled her collection of hiking boot–style heels for the brand, telling she envisioned herself running around New York for inspiration. And today she brought the image to life when she stepped out in Manhattan wearing a gunmetal metallic pair from the new line. Paired with basic blue jeans casually cuffed at the ankle, Hadid’s high-shine footwear took the spotlight. A Zoë Jordan cropped sweater in the same heavy-metal shade pulled the look together, while its distressed finish added an element of texture. Hadid topped it all off with a structured Rudsak cape coat, which boasted leather sleeves and a major zipper detail to boot. With New York Fashion Week kicking off next week, it’s likely she’ll have a few more sparkly styling tricks in store.  

The post Could Gigi Hadid’s Silver Boots Be a Supermodel Hit at New York Fashion Week? appeared first on Vogue.

“To pay attention to someone can be a political act,” Aliza Nisenbaum says quietly. For the last four years, the artist has been painting portraits of undocumented immigrants (mostly from Mexico and Central America) in New York City, giving recognition and dignity to individuals who are often obliged to live in the shadows. Her work, in which sensitively rendered figures appear in brightly patterned, semiabstract settings, caught the attention of Whitney Biennial curators Christopher Lew and Mia Locks, and will appear in the exhibition next month. “She’s clearly not painting people she finds on Facebook,” says Lew. “There’s a real back and forth that happens between painter and subject because they know each other so well.” Aliza, 39, grew up in Mexico City, the child of a Scandinavian-American mother and a Russian Jewish father. (Her name, pronounced “Aleeza,” means “happiness” in Hebrew.) She teaches undergraduate painting and drawing at Columbia—she is also the director of graduate studies in the visual-arts program there—lives in Harlem, and does not yet have a New York gallery, though several are now wooing her. Five years ago, she volunteered to teach a class at Immigrant Movement International, a community space in Queens started by the Cuban-born artist and activist Tania Bruguera. Recognizing that what her mostly Hispanic students really needed was to learn English, Aliza says, “I told Tania I would teach English through feminist art history.” According to Bruguera, Aliza’s “was one of the iconic workshops in the project. In her English classes, using images of art history and women as models, that group not only learned colors, landscapes, and names of objects, they also learned a lot about themselves. In the process it came out that quite a few of the women were going through domestic violence, and because of that, we started another workshop on that subject.” Aliza’s students responded to her unselfish nature and alert empathy, and they began telling her stories about how they came to America. She got so interested in their lives that she asked many of them if they would sit for portraits, and most were very happy to comply. “Many of the people I painted were used to hiding from visibility. But there’s a kind of mutuality that happens in sitting for a portrait. When you’re painting, you’re looking at every little part of their face, and they would ask me about growing up in Mexico City and how I came here. It’s a very intimate thing.” All Aliza’s paintings are done from life. She goes to her sitters’ apartments and their children’s birthday parties, incorporates elements of their lives—fabrics, mosaic tile floors, brightly colored walls—and invites them to her place, where she’ll cook for them. She’ll paint the same person multiple times, sometimes alone, sometimes with children, husband, and other family members. “The subjects have a say in how they’re depicted, and what they wear to represent their image,” Aliza says. One man didn’t like his portrait because she’d painted him with stubble, so she painted him again—this time without stubble and wearing his best ostrich-leather boots. From the beginning, she made it clear that she wanted to remunerate her sitters for their time. She offered money or art classes or one of her paintings. “Aliza’s painting of me hangs in my home along with artworks made by my daughter,” says her first model from Immigrant Movement. “She earned my trust almost immediately. We speak the same language—Spanish—and her modesty, kindness, and the way she listens closely made me feel comfortable as soon as I met her.” Aliza’s own family history is complex. Her great-grandfather David Nisenbaum and his family fled the pogroms in what is now Belarus before World War I and ended up in Mexico because U.S. immigration laws barred their entry. Family lore has it that David sold everything, put the money into a diamond, and brought it over sewn into his daughter’s favorite floppy doll. (She was told to “hold on to it with your life.”) Aliza’s Norwegian great-grandmother Grace Gundmanson Kravik fled an arranged marriage with a 45-year-old man when she was fifteen. She eventually got to Seattle, where she married a Swedish-born ski champion. Aliza’s future parents met on the Paseo de la Reforma in Mexico City. Nancy Anderson, who had inherited her grandmother’s Scandinavian beauty and her willful, adventurous spirit, made an indelible impression on Samuel Nisenbaum. “She was the only platinum blonde he had ever seen,” Aliza says. They married soon afterward and had Aliza and her sister, Karin, four years younger. (Karin went on to be a child star in the internationally famous Mexican telenovela Carrusel.) The family lived in a big house in what was then a semirural part of town, where they grew their own vegetables and had a menagerie of ducks, geese, a goat, and many dogs and cats. Karin was passionately fond of animals, but Aliza, from the age of three, cared mostly about art. Her mother made paintings of flowers—large, Georgia O’Keeffe–like blooms—and taught a willing Aliza to draw and paint. “I really admired my mom, who converted to Judaism and was supereccentric and beautiful,” says Aliza. “She wore flower-patterned dresses and didn’t look like anyone else in my environment. It was a very exuberant childhood.” Her father’s leather-goods business took him to New York at least once a year, and he would bring the family along, introducing Aliza to the art world there. “I remember seeing a Lucian Freud show, and a Matisse show at MoMA, and asking my dad to please buy me the Matisse catalog—which I still have.” Her parents divorced when she was fourteen. Aliza and Karin lived with their father in Mexico and spent summers in St. Louis with their mother and her new husband, a wealthy Mexican-American whose main interest was butterfly hunting. After a two-year foray into psychology, which she studied in Mexico City, Aliza realized that she was much more interested in painting. At the School of the Art Institute of Chicago, where she earned her B.F.A. and M.F.A., she developed a highly personal, intimate style of painting that blurred the line between figuration and abstraction, with bold compositions and flat planes influenced by the great Mexican muralists—Rivera, Orozco, and María Izquierdo, whose work she reveres. While at the Art Institute, Aliza shared a one-bedroom apartment with her sister, who studied philosophy at the University of Chicago. Karin introduced Aliza to the work of the Lithuanian-French philosopher Emmanuel Levinas, who argued that ethical responsibility and openness to other people were the beginnings of knowledge. “Levinas says that all ethics comes from the face-to-face relationship,” Aliza says, “not from something external.” His thinking has been a major influence on her work and is clearly evident in her many-layered, deeply observed portraits. Portraits are often said to reveal more about the artist than the subject, but in Aliza’s work, this is not the case—what you see is an open, questing approach, an attempt to understand what cannot ever be fully understood. As Aliza puts it, “The one phenomenon that you can’t really describe is the face of another, somehow. I was so interested in that early on.” Aliza’s studio is in the second bedroom of her modestly comfortable Harlem apartment. Although she had always wanted to live in New York City, she stayed in Chicago until 2008 because she had a boyfriend there, and a gallery that showed her work, which had moved into large-scale abstract paintings—some of them fourteen feet long. “I was burning to come here the whole time,” Aliza says. “New York is much more like Mexico, much more my sensibility.” When I visit her in Harlem, three immigrant portraits hang on the studio walls. On the easel is an unfinished still life, one of a series that shows handwritten letters with fanciful drawings on them. In the sitting room, a small portrait of her by the artist Patricia Treib, her closest friend, hangs on the wall. They went to Fort Greene Park in Brooklyn one day in the summer of 2015 and made portraits of each other in the act of painting. “We exchanged them on the spot,” Treib later tells me. “I’ve known her for seventeen years. We were in a drawing class together at the Art Institute of Chicago as undergrads, and I felt this instant kinship.” Aliza has a small group of friends, whom she sees frequently. She’s still very close to her parents, enjoys windsurfing with her dad in Mexico, and, when we met, was about to go to India for the first time with three of her Nisenbaum aunts. On evenings when she’s not out salsa dancing or at home cooking one of her special Mexican dishes for friends (such as crepes filled with huitlacoche, a delicacy that grows on corn), she spends most of her time reading or painting. She broke up with a longtime boyfriend last summer. This year, Aliza will turn 40. Neither she nor Karin, who now teaches philosophy at Colgate and who married a year and a half ago, has children yet. “I always thought I was going to be a mom,” Aliza says, “but the opportunity hasn’t presented itself.” She could see herself adopting a child one day.  “We have actually talked about whether I could have a child and we could take care of it together,” Karin says, laughing. “We complement each other in really good ways.” Treib is the one who introduced Aliza to a lot of young New York artists, including Josephine Halvorson and Mira Dancy. “It completely opened my mind to meet those recent Columbia grads who were really engaged with painting—working on easels and en plein air. That revolutionized my thinking, gave me carte blanche to go back into figurative work.” The new work turned out to be flower paintings—intense, eleven-by-eight-inch bouquets of gardenias, roses, or peonies (usually whatever she could find at her local bodega). Perhaps they are a nod to her mom’s still lifes, but Aliza’s flowers burst out of the space that encloses them. These paintings led directly to her immigrant portraits, several of which were shown in 2014 at the New York art space White Columns. Three new portraits and the letter painting will be at the Whitney Biennial. Particularly striking is the very large, wonderfully tender canvas of a father and daughter on their turquoise-covered sofa, reading The New York Times. The front page features the police killing last July of a black man in his car, filmed by his girlfriend. Like all of Aliza’s recent works, it’s an indelible image that makes the viewer stop short and spend time with it. Throughout the world, immigration has recently become an explosive issue, but Aliza could not be accused of latching onto this hot topic as a career move; she started her immigrant portraits more than four years ago, and the way she goes about them is deeply sensitive and far from exploitative. “After coming into close contact with these people through my volunteer teaching and seeing how heroic and inspiring they were to me, I decided to memorialize them in portraits. Revolutionary movements are always made when different people come into solidarity with each other,” she remarks. “I hope my work is more complex than just the issue of immigration.” Aliza is often frustrated by people who think painting can’t participate in political discourse. “Painting is seen as the market art, and the art that gets seen as political and intellectual is conceptual, nonmaterial work,” she says. Nobody would deny the lasting impact of Goya’s The Third of May 1808 or Picasso’s Guernica, though, and Aliza is convinced that painting—and pictorial beauty—is as relevant today as it has ever been. “Sometimes you can feel that it’s indulgent to make work in the current environment. But I think this is exactly what artists do. They heal, they speak. This is when it’s most urgent to make work. I’m never going to stop painting.”

The post Who Says Painting Can’t Be Political? appeared first on Vogue.

When it comes to entertaining successfully in the home, a number of important factors have to come together just right: the guest list, the playlist, the lighting, the decor, and, of course, the food. But a Super Bowl party belongs in a category all its own. Not only should it be a high-energy affair, but its many components must also appeal to both die-hard sports fans and football dilettantes alike—which, as we all know, can be two very different types. So, what’s the trick to pulling it off? We’ve tapped eight design, entertaining, and culinary pros to share their pointers for hosting a Super Bowl party to remember—regardless of which team snags the Lombardi Trophy in Houston on February 5. Get Literal “Serve all your party food and snacks in a collection of “super” bowls—everything from your kale chips, organic chicken, veggie chili, and cornbread presented in fabulous, unexpectedly chic bowls of different scales. They make for a playful, yet sophisticated, table.” —Kelly Wearstler, interior designer   Work the Theme “Just because this football lover’s ‘holiday’ has come to be known as a casual, laid-back occasion doesn’t mean you have to compromise your taste in decor or ability to be the chic host or hostess with the most-est who we all know you are! Set a tasteful tone with your decor by adding touches of each team’s colors throughout your party. This could include anything from your table linens and napkins right down to your serveware and throw pillows. And don’t be afraid to split the room by team color. Add a pop of ‘turf green’ with wood or silver tin vessels filled with wheatgrass scattered throughout your food displays and dining table. This is the perfect way to play on the theme of the day, without coming across too literal or tacky.” —David Tutera, celebrity party planner and designer   Add a Delicate Touch “Like any great party, it’s about touching all the senses, just like it’s about getting that ball where it’s supposed to go! I always tailor the menu to the teams in the game, and a buffet is set up with beautiful warming trays in combinations of sterling silver and patterned serving bowls. Rooms are bathed in warm candlelight and fragrant flowers so your guests feel special. Classic mellow jazz and coffeehouse favorites mix in the background. As the game begins, the girls often find themselves in the dining room. For this, I keep a wicked game of Cards Against Humanity going partnered with many, many bottles of Nicolas Feuillatte Cuvee. For added fun, I often buy white football helmets and raid the arts and crafts store for embellishments to decorate them. At the end of the evening, the helmets are donated to a local hospital to make children happy. I say, that’s the best score yet!” —Joy Moyler, interior designer   Add Unexpected Elements “Do a custom invitation and personalize it—the party starts here. Project the game with a high-definition projector and let it be the center of focus in the room. Set out cocktail napkins branded in team colors (no need to go overboard and have too much of a theme-y football approach). If you really want to treat your girlfriends who are just accompanying their significant others, surprise them with a manicurist doing nail art. Why not leave the party with the winning team on your nails and a grin of your special guy’s face?” —Ron Wendt, event and garden designer   Imbibe Elegantly “I love to use a serving tray to create an instant party. It quickly becomes a portable bar space that can move with your guests from the kitchen to an entertaining space. I usually include a small flower display on the table and a beautiful carafe with glasses along with my favorite spirits. It’s elegant and relaxed.” —Aerin Lauder, founder of Aerin   Create Comfort “Embrace a Super Bowl party for what it is: a relaxed gathering to watch the biggest American sporting event (or just the best commercials) all year. Even for a casual affair, think about the space and make sure there’s an easy path from seats to refreshments. Traffic jams are not so chic. Lastly, for those in cozy spaces, take extra throw pillows and arrange them on the floor around your coffee table for more seating. You want your guests to feel welcome.” —Sarah Bartholomew, interior designer   Get Personal “The Super Bowl should always be stylish. I like to dress the table with bright and colorful African fabrics, Duro-style, and set out big decorative bowls that I have collected over the years filled with flavored popcorns, guacamole and tortilla chips, and yummy snacks. Pre-batch your favorite cocktail and serve it in an oversize punch bowl with big cubes. Set out a variety of glasses for guests to choose from (this encourages conversation and swapping stories): mason or jam and jelly jars, along with vintage teacups and eclectic rocks or double old-fashioned glasses. A party should reflect your personal style and engage guests.” —Marcus Samuelsson, chef/owner of Red Rooster Harlem and Streetbird Rotisserie, author of The Red Rooster Cookbook   Simplify “Keep it streamlined and organized: My favorite tool for big parties is a simple white wax grease pencil. Have it at the ready for each guest to write their name on their glass when they arrive. This cuts down on dishwashing and allows for far less mix up and clean up later. I’m all for using glass, rather than paper or plastic, to elevate the feel of the night if people can commit to being responsible for their glassware. And let the food be the real color in the room. Everything looks best on a simple, solid plate and servingware. Choose one color (from your favorite team) and make it the single signature for the night’s palette. It can vary by shade, if you desire (midnight and eggshell blue, perhaps), but it’s always best to keep things monochromatic so as not to distract from the game or the food.” —Gail Simmons, culinary expert and Top Chef judge  

The post 8 Tips for Hosting the Chicest Super Bowl Party Ever appeared first on Vogue.

At a time when you can’t bear to read the news, when every day—every hour—brings some fresh, terrifying development in American politics, it can be really nice to take a mental hop over the Atlantic and see what those royals are up to. (At this minute, the Windsors-as-diversion may even be validating their own existence to those who complain about how the monarchy is outdated. May God save the Queen, indeed!) Of course, it’s not all ribbon cutting and photo ops for the British royal family, and this year brings a somber reminder of the downside of that fame. This August will mark 20 years since Princess Diana died tragically in a car crash in Paris at age 36. Her two sons, Princes William and Harry, are now in their 30s, and they have begun plans to commemorate the anniversary of her death. This past weekend, the brothers announced they’ve convened a team to erect a statue of Diana in the gardens of Kensington Palace. “It has been 20 years since our mother’s death, and the time is right to recognize her positive impact in the U.K. and around the world with a permanent statue,” they said in a statement. “Our mother touched so many lives. We hope the statue will help all those who visit Kensington Palace to reflect on her life and her legacy.” The statement also explained that the team will work together to find a sculptor and determine the installation, as well as privately raise funds for the project. This statue won’t be the first official memorial to Diana. Several monuments are stationed around London, each representing a facet of her character. The Diana Memorial Fountain is a calm, undulating curve of granite set into the ground so that visitors can sit and even splash directly in it; the design is meant to suggest her openness and accessibility to people around the world. The Diana Princess of Wales Memorial Walk is a seven-mile path through several significant locations of her life in central London, marked with 90 plaques bearing etched aluminum roses to guide your way. And the Diana Memorial Playground celebrates her love of childhood innocence: It bears a Peter Pan theme, with a giant pirate ship, and encourages imaginative play. (In keeping with her patronage of different children’s charities, there are areas designed for less able-bodied youngsters, as well.) While less “official,” other memorials have sprung up around the world for Diana. The Pont de l’Alma tunnel in Paris where she was killed as well as the nearby Flame of Liberty statue are the sites of impromptu cards and photos from fans, and the family of her boyfriend, Dodi Fayed, erected statues of the pair in the basement of Harrods department store in London. Aside from her sons’ efforts, other plans for the 20th anniversary are already under way. Kensington Palace is planning an exhibition about her style, “Diana: Her Fashion Story,” which will open February 24. Diana’s longtime designer, David Sassoon of Bellville Sassoon, will give a talk there on March 4. The palace is also refreshing its gardens in Diana’s honor, with forget-me-nots in the spring and white English roses in the summer. And in a move that may be more than coincidence, William is moving home: The Duke and Duchess of Cambridge released the news last week that they will soon be living in London full-time come autumn, with Wills leaving his job as a pilot behind to pursue more royal duties. “Their Royal Highnesses are keen to continue to increase their official work on behalf of the Queen, and for the charities and causes they support,” Kensington Palace said in a statement. “Prince George will begin school in London in September, and Princess Charlotte will also go to nursery and eventually school in London as well.” Those adorable kiddos will soon be city mice? Now there’s a pretty picture.  

The post Princes William and Harry Have a Plan to Honor the 20th Anniversary of Princess Diana’s Death appeared first on Vogue.

In the barrage of bad news, a beacon of light: Oprah Winfrey, the journalist, is returning to network television as a special contributor to CBS’s 60 Minutes, the network announced today. The gig likely means Oprah will report on several stories on the new season of the esteemed news magazine, beginning this fall. She joins the likes of Anderson Cooper and Charlie Rose, but as 60 Minutes’s executive producer Jeff Fager astutely points out, “There is only one Oprah Winfrey.” And in the midst of a bitterly divisive, increasingly disturbing political clime, we’ve arguably never needed her more. Casual viewers may know her as the master of teary television, from the hysterical Favorite Things and car giveaway episodes and celebrity candy (hi, Tom Cruise couch-jumping!), but lest we forget, Oprah is a fearless journalist at heart. In 1987, she took her eponymous talk show to then one of the most segregated communities in the country, Forsyth County, Georgia, to report on race relations. In the decades that followed, she was among the first on television to cover the AIDS crisis, transgender teens, and the Rwandan genocide. If you’re ever in the mood to sob, see a snippet of the latter episode here. Oprah also happens to be one of the boldest interviewers in the game. Just ask James Frey. Oprah is promising to deliver her signature brand of compelling reporting at 60 Minutes: “At a time when people are so divided, my intention is to bring relevant insight and perspective, to look at what separates us, and help facilitate real conversations between people from different backgrounds,” she said in a press release. We’ll be waiting and watching.    

The post Oprah Winfrey Has an Amazing New Job appeared first on Vogue.

Over the centuries, Shakespeare gardens have endured as a beloved tradition among green-thumbed fans of The Bard. Traditionally, a Shakespeare garden aims to include every plant mentioned in the poet’s plays. A simple-enough idea, but dip into any one of his works, and you’ll soon find a myriad of lines that make this a rather tricky concept. While the practice of planting a Shakespeare Garden is not exactly new, The Quest for Shakespeare’s Garden, a new publication out from Thames & Hudson today, takes a novel approach to tracing the history of such plots. The book, which was written by Sir Roy Strong, carries the reader from Tudor history, through the Victorian era, and into the 20th century while beautifully interspersing illustrations from historical appendages with quotes from the poet’s plays. But as wonderful as the book’s visual elements are, the tome best paints an image in the reader’s mind’s eye through lines from Shakespeare’s various works. A line from The Winter’s Tale reads, “Here’s flowers for you: Hot lavender, mints, savory, marjoram, the marigold. . . . These are the flowers of middle summer . . .” while The Merry Wives of Windsor is quoted through the passage, “In em’rald tufts, flowers purple, blue, and white, like sapphire, pearl, and rich embroidery, buckled below fair knighthood’s bending knees, fairies use flowers for their charactery.” From a historical perspective however, the most fascinating aspect of the book comes when Strong delves into the matter of Shakespeare’s own garden. The investigation centers on the writer Henry Ellacombe’s original hypothesis that Shakespeare had gardening experience. But Strong, for his part, is an expert on these subjects in his own right. His seminal publication and correlating Victoria and Albert Museum exhibition, “The Renaissance Garden in England,” helped establish him as a leader in this academic field. And from his insights on garden imagery as a sign of unity during the reign of the Tudors, to his explanation of flowers’ moral symbolism in Victorian times, he more than proves his reputation true. As for Strong’s assessment of the 1920s reconstruction of Shakespeare’s garden at his Stratford-upon-Avon home? You’ll just have to read the book to find out.  

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The distance between Earth and Mars is averaged at about 225 million kilometers. The theoretical distance between the fashion world and the world of Bill Nye the Science Guy was just as vast until today. Menswear designer Nick Graham cast the beloved ’90s TV geek to narrate his Mars-themed galactic runway show for Fall 2017 (oh, and astronaut Buzz Aldrin has been chosen as the closing model). Graham has been a longtime fan of Nye’s, tapping him to collaborate on a collection of bow ties in 2015 and dressing him for his upcoming Netflix show, Bill Nye Saves the World. As Graham explains, “He’s had such an amazing and positive impact on millions of people and their understanding of science. The more people know about science, the better off the planet will be.” Both the designer and his lab coat–wearing buddy have a love of knowledge, but especially Nye, who came into our living rooms at whiplash speeds and with crazy humor to teach us the differences between things like rubidium and radium. Now Nye is proving that he’s got more practical skills to enlighten us with, but this time it’s all about looking your best—no matter what planet you’re on. Below, Nye gives a thorough personal style report to ring in New York Fashion Week: Men’s. What are three pieces of fashion advice you’d give to a guy? 1. Wear socks that go up to your knee, or what I call ‘talk show socks.’ Otherwise, you expose skin and you appear to be coming undressed when you cross your legs while seated, say, in a low puffy chair at a lounge-style bar. 2. You can’t go wrong being just a tad more dressed up than any other guy at a party or event. For example, choose a sport coat over a sweater. 3. Jeans don’t go with everything, so when in doubt, wear color-coordinated slacks instead of jeans. I will probably never be a fan of designer jeans with embroidered stars either. Describe your personal style. I like to wear a white shirt and be clean-shaven. Then I feel dressed up and ready for virtually any situation. As an exception, a white dress shirt may not be the best choice, especially while surfing. Shaving (your face) would then be optional, as well.   When did you start wearing your signature bow tie? I started in with bow ties as a waiter at the girls’ athletic banquet in 11th grade. I found the bow tie made me looked dressed up. It also shows respect for those around you. And a bow tie does not slip into the soup or flop into a flask the way a straight tie does so easily. How many bow ties do you think you own? About 500. When you’re not in your bow tie, how do you dress down? I like skinny jeans from the Gap, because they fit me pretty well. Despite my earlier remark, I really prefer ankle-high socks if the situation suits. I think it comes from my years of bicycle riding. What’s your favorite style of suit to wear and why? I’m loving my Nick Graham suits. I’m wearing them on my new Netflix show, Bill Nye Saves the World. Their patterns and cuts are just adventurous enough, and they generally fit me right off the rack (it surprises me every time). And I’ll slip into a tuxedo just about any time, because it makes me feel like a million bucks. Is there a menswear trend that you absolutely hate and think should be retired for good? I am open-minded, of course, but I do not get the no-socks, short-slacks look. I have no objection to guys who choose to show their ankles and calves while having smelly, cold feet. It makes me look that much more put-together, respectful, and stylish. Go for it, you all. Also jeans that fit around a guy’s butt instead of his waist. It just looks sloppy. They also look like they inhibit your movement, as if you were pursuing a counterspy or perp.   In your opinion, can a lab coat ever be stylish? I would wear a lab coat all day every day if I worked in the right situation. They are practical and comfortable. I think the 100 percent cotton coats with breast pocket and cloth-knot buttons are just the best.  

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Mark Twain, Steve Jobs, and Mark Zuckerberg have all been known for their messy desks. Now we can add President Donald Trump to that list. At the end of last week, he told Fox News’s Sean Hannity during an interview: “Look at my desk. Papers. You don’t see presidents with that on their desk.” The jury’s out on what having a messy desk actually means about your work style—and personality. According to a 2013 study, those who kept their surroundings tidy were likely to be more generous, more likely to choose healthy snacks, and more likely to live longer; however, the same study also found that working in a messy work space can encourage a sense of novelty and creativity. Previous studies on the matter have typically found “that even slight disorder and neglect can encourage nonchalance, poor discipline, and nihilism.” Throughout history, the president’s desk has been depicted as the pristine picture of organization. It’s impossible to know if this was always the case or simply concocted for photo ops—but it’s difficult to imagine Presidents Obama or John F. Kennedy with stacks of disorganized file folders and scattered papers strewn about the Oval Office. CNN did note, however, that when President Trump was pictured signing executive orders last week his work space was orderly. Trump sits at the Resolute Desk, which every president since Rutherford B. Hayes—except for Presidents Lyndon Johnson, Richard Nixon, and Gerald Ford—has used. Some, however, moved it to the president’s private study in the residence instead of using it in the Oval Office. The desk originally became famous when Life magazine ran the now-iconic picture of President Kennedy working while his son, John, Jr., looked out from underneath. John-John is seen peeking through the knee-hole panel, which was commissioned by Franklin D. Roosevelt to hide his leg braces, but not installed until after he left office in 1945. Unlike past presidents, Trump is also known for keeping his own positive press within reach while at work. During a meeting at Trump Tower with AFL-CIO president Richard Trumka, he was photographed with Time magazine’s Person of the Year issue, of which his face graced the cover, stacked on the edge of his cluttered desk. There was no computer on his desk at Trump Tower (Trump is reportedly skeptical of them, but in the executive suite, an entire office is dedicated to displaying magazine issues—of which he is on the cover—on what is referred to as the “magazine table.” President Trump’s unorthodox office space isn’t just a departure from those of his predecessors; it also might say something about the way he works. “Disorderly environments seem to inspire breaking free from tradition,” Dr. Kathleen D. Vohs, a behavioral scientist at the University of Minnesota, told The New York Times. Meanwhile, a clean desk is thought to suggest conventionality and generosity. If nothing else, it’s clear that people draw conclusions about you based on what your office space looks like. With this in mind, we’ve listed the things you should think about when taking stock of what’s on your own desk. Files Are Meant to Be Filed Odds are you aren’t referencing the stacks of files on your desk throughout the day. So buy yourself some more real estate and put them away. Set aside a few minutes each afternoon to sift through the papers you’ve accumulated and place them in their corresponding folders. Wish I Weren’t Here Counting down to your next vacation? Try not to make it so obvious. While everyone likes a little rest and relaxation, it’s one thing to have an island-inspired screen saver or a snap from your last trip displayed on your desk and quite another to cover your office with tons of travel shots and mementos. Keep the Star Trek Toys to a Minimum Hoodies and shower shoes are now acceptable attire in some offices, so why not display your collection of miniature Trekkie accessories prominently on your desk? It shows your playful side, right? Wrong. Showcasing too many trinkets can make it hard for people to take you seriously. One strategically placed figurine is perfectly acceptable; too many is just plain weird. The Perfect Number of Post-its Used in the right way, sticky notes serve as helpful reminders that can brighten up a drab work space. But one sticky note too many and suddenly it’s overload. The message becomes: This person is way too old school and analog—and needs to learn how to use his iCal immediately. Don’t Overdo It When It Comes to Seasonal Decorations A simple nod to an upcoming holiday can be cute. An office takeover is too much. Don’t give your boss reason to wonder why your space is decked out for V-Day but the report that was due last Friday still isn’t done. Planning to Stay a While? On the opposite end of the spectrum, a space that’s overly pristine can be equally unnerving. If you’ve yet to put down any kind of roots, some may wonder how long you’re going to be around. Keep this in mind, and even if you’re a minimalist, be sure to select a few personal items so it feels like you’re part of the team. Pills Should Be Kept Private Everyone knows fish oil and gummy vitamins are good for you—but your coworkers don’t need to be confronted with your daily regimen every time they drop off their expense reports. Keep pills safely stored in a desk drawer so your supplement consumption doesn’t become watercooler conversation. Condiments Aren’t for Everyone Like vitamins and pills, the entire team doesn’t need to be exposed to your condiment preferences. Whether you insist on dumping Tabasco sauce on everything you eat or only take Splenda in your coffee, store these items away in a drawer and only break them out as necessary—especially if you’re in a communal work space. Dead Plants Are Dead Wrong A healthy plant or pretty floral arrangement is a great way to bring a bit of the outdoors inside and brighten up your desk. But be sure to change the water when it gets dirty and don’t leave plants that have died in the office for days on end. Everything from the look to the smell of blooms that are past their prime can be off-putting. Avoid Invites All Over the Place It’s great that you’re a social butterfly after hours—but prominently displaying that you attended the opening of an envelope isn’t the best look at work. Some may start to think you’re logging more hours hobknobbing than you are focusing on the job at hand. A bulletin board with an attractive, well-placed invite is fine, but don’t go overboard.    

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Not too long ago, Rita Ora was synonymous with double doses of bleach and siren-red lipstick, a Technicolor pop princess with a more-is-more beauty philosophy to match. In the past year, though, the singer has gradually moved toward a deeper shade of golden blonde and traded in her inky arches for a feathery set of brushed brows. Her transformation didn’t end there: Yesterday, the singer was spotted on Instagram and outside a studio in West Hollywood with a freshly snipped set of eyelash-skimming bangs and a masterful sunny ombré hair color that would have looked right at home in the warmer months. Factor in her glowing skin and bare lips, and it’s official: There’s nothing more game-changing than a good makeunder.  

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For Brandon Maxwell, there are two kinds of fashion campaigns. “You can have a girl jump around and have everything beautiful, or you can choose to tell a human story that highlights someone you love,” says the designer. For his Spring 2017 campaign, Maxwell took the latter approach, enlisting close friend Riley Montana and filmmaker Jessy Price to create an immersive mini film detailing Montana’s path from Detroit to her current role as a top model. As one of the first women Maxwell cast in his show and a longtime pal, Montana made for an ideal subject. “I’ve spent so much time with Riley and we talked about our lives and similarities,” says Maxwell. “I realized that she’s the embodiment of the woman I design for. The woman who, no matter what she’s been through, puts on the clothes with her head held high.” Montana’s story is far from a typical scouted-on-the-street modeling tale. She moved to Los Angeles to pursue her dream and worked multiple retail jobs to support herself as she rose through the ranks. Through it all, her connection to her family and hometown has never wavered, so when the subject of doing a film shot in Detroit came up, she was game. “We were in Paris last season and randomly started talking about it,” says Montana. “Brandon and I have become so close over the past three years; I talk to him about everything already. In the moment I didn’t fully take it in, but we started planning and it all came together.” The film presented a unique set of challenges. The documentary style of the piece meant Montana would have to share her personal life and involve her entire family in the process. While her aunts and sisters had no qualms about participating, Montana admits to feeling anxious. “I was so scared,” says Montana. “Not because I was ashamed of where I came from or my family. It was just hard for me to visualize someone else being able to capture the love we have for one another and the energy we share.” Even with her jitters, Montana’s faith in Maxwell’s artistic vision and their friendship ultimately won out. “I couldn’t see bringing anyone else in the industry besides Brandon, because he and I are so close,” says Montana. “Once things started happening, it became one of the best experiences of my life.” Taking the audience through her passage from Ebony Riley, Detroit teenager, to Riley Montana, international model, Montana provides insight into the image pressures that many models, particularly those of color, face. From having to adopt a new name to feeling the need to distance herself from her past, Montana’s fashion experience has been bittersweet. “There was a time when I lost myself and I wasn’t enjoying [modeling], because I was so scared to be myself,” she says. “I couldn’t be Ebony—I would tell myself that ‘Riley’ has to be this super-polished and proper person. I was traveling the world for the first time, going here and there and meeting these beautiful people, and I just wasn’t happy. At the end of the day they weren’t even getting to meet the real me.” Over time and with the help of friends like Maxwell, Montana realized her fashion success wasn’t dependent on conforming to an ideal. “I’m done with that chapter. I’m not hiding or changing who I am,” says Montana. “I’m not living in Detroit anymore, but I’ve been given a platform to reach out to the people whom I want to reach out to. [Fashion] has offered me a different life, and I just want to be happy and thankful for all of it.” Maxwell and Price’s campaign film exists to showcase Montana’s realness. What separates the clip from the countless luxury ads filling the Internet is its focus on identity. The model’s candor regarding her progression plays out through a voice-over in which she describes her evolution. Intercut with shots of the Riley clan gathering in the living room to watch as their Ebony saunters down Maxwell’s runway are moments spent flipping through baby pictures and scrapbooks. The authenticity had a profound effect on Maxwell. “I had chills when her family saw her walking for the first time in the video,” he says.   Beyond providing insight into Montana’s world, the film manages to continue the fashion conversation regarding inclusion, something Maxwell was conscious of throughout the process. “I don’t think it’s going to change things overnight, but I hope that we’re contributing to the narrative of change,” says Maxwell. “For me, it’s important that not only in the imagery of the campaign, but also in the shows, we represent a world that is round, a world that is diverse, accepting, and loving.” Focusing on the power of possibility and representation, he hopes that viewers see something of themselves in the final product. “That’s what this story was about for me, that no matter where you come from or what you don’t come from, or what you are, that anything is possible.” For Montana, who teared up the first time she saw the finished piece, the message is loud and clear. “[The film] put me back in a really good mind-set as far as where I come from. I had never seen my community represented in a way that is this beautiful. It just made me think not to forget what you came from; don’t forget the things that made you who you are.”  

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