Why Fiona Apple Is the Style Icon We Need Right Now

If there’s one trait that defines a Fiona Apple fan, it’s patience. A notorious perfectionist, the singer is happy to spend the better part of a decade fine-tuning an album; thankfully, the result is always worth the wait. Operating outside of the industry cycle, every one of her records offers a window into the world of a musician who keeps her personal life fiercely protected, only to return seemingly out of nowhere with music so bracingly candid that it more than fills in the gaps.

So, quite what she’s been up to since the release of her most recent record, 2012’s The Idler Wheel…has remained a mystery. That is, until she was thrust back into the pop-cultural consciousness this month, thanks to a Jennifer Lopez striptease sequence in the star’s latest (and heavily Oscar-tipped) film, Hustlers. J.Lo’s mesmerizing opening performance sees her spinning around a pole in a downtown Manhattan strip club, as sleazy Wall Street types chuck money at her—the most gloriously campy introduction to a character since Liza Minnelli stepped onstage wearing a bowler hat in Cabaret, or Gina Gershon performed her first dance in Showgirls.

And, in an inspired choice, soundtracking it all was Apple’s 1997 hit “Criminal,” released when the singer was 20. Like all of the music in Hustlers, it perfectly reflects the film’s faithfulness to its ‘00s zeitgeist—but the inclusion of “Criminal” in 2019 feels particularly apt, as Apple’s laid-back, irreverent style undergoes something of a renaissance among a new generation of female musicians. In predictably unpredictable form, Apple cold-emailed a journalist earlier this week who had tweeted about a controversial video that overlooked her donations of the royalties from Hustlers to a charity supporting refugees; the conversation ended up taking the form of an accidentally sprawling interview—her first in seven years—with plenty of Apple’s forthright sense of humor, and the news that a record is likely to arrive next year.

Thankfully, the time is ripe for a Fiona Apple style revival. The singer’s signatures aren’t defined by any specific item of clothing, but a don’t-give-a-fuck attitude that feels totally of the moment—an outlook best summarized by her divisive speech when accepting the award for Best New Artist in a Video at the 1997 VMAs for her single “Sleep to Dream,” where she memorably described the assembled members of the music industry’s world as “bullshit.” Her favored look at the time was a grunge-inspired ensemble of a cropped tank top and a pair of baggy trousers, or occasionally a silk slip dress, her hair left to curl up at the ends with pointedly minimal effort.

It’s an iconoclastic, easy-going spirit that has been adopted by many of Apple’s young acolytes working in the world of pop today: Just take Billie Eilish’s super-comfy tour wardrobe of tracksuits and oversize separates, or Charli XCX’s easy, breezy, ‘90s-inspired spaghetti-strap boob-tubes and miniskirts. Even King Princess, who can now boast Apple as a friend after locking her down for a collaborative cover of the 1999 track “I Know,” has channeled the singer’s chic androgyny with her casual take on menswear staples. There might have been precedents, but Apple’s insistence on putting her music ahead of crafting a fashion-adjacent image made her an accidental pioneer, and a new crop of pop musicians now understand clothing as one of many tools within their stable, rather than something that defines them.

But then—in keeping with her sprawling sartorial tastes—it isn’t any specific garment, or any particular look that makes Fiona Apple’s very casual style feel perfectly right for now. It’s the fact that clothes have always been a key device when telling her story, even if they were never the opening gambit; and with the low-key role they’ve played in her career, her humble take on fashion has been criminally (pun intended) overlooked. Apple’s return to music next year can’t come quickly enough—but while we’re at it, maybe it’s time to reassess the ongoing influence of her off-kilter style, too.

On the VMAs Stage, Missy Elliott Proved She's Still the Queen

The Video Music Awards were filled with exciting moments, but no one brought the house down quite like Missy Elliott. The recipient of this year’s Video Vanguard award celebrated the honor by revisiting two decades of groundbreaking visuals. Her spirited medley of hits like “The Rain,” “Pass That Dutch,” and “Get Ur Freak On” showcased her skills as a performer and the legacy of arresting imagery she and her collaborators have created. Few could pull off LED -laced jumpsuits, or double-dutch braids but Elliott did so with swagger and aplomb. If last week’s drop of her “Iconography” EP and the opening of the Museum of Missy popup in SoHo were the lead-up, tonight's set provided the cherry on top.

The special effects and cameos from collaborators like dancer Alyson Stoner and were memorable, and the singer's dazzling statement fashion took her performance to another level. Created by Elliott’s longtime stylist and costume designer, June Ambrose, tonight’s multiple outfit changes have been in the works for nearly a month. “From the moment MTV announced we’ve been plotting,” Ambrose said backstage at the Prudential Center in Newark. “It’s a high-impact, high energy show, it’s fast and has a lot of bodies on the stage. Missy wanted it to feel rich and full of life.”

Ambrose has been with Elliott since the days of Supa Dupa Fly and has had a hand in many of her most inventive looks. The billowing inflatable trash bag “dress” from “The Rain” video, the ice blue tracksuits of “Work It” and “Throw It Back”’s wealth of pastel tailoring are all a result of Ambrose and Elliott's years of collaboration. "The music is the DNA for me as a costume designer," Ambrose says. "I'm here to develop the character, articulate it, and evolve it."

Given the night’s retrospective theme, both felt that revisiting some of those much-loved looks was appropriate. “Missy didn’t want there to be too much of a departure [from the original videos] especially with the graphics,” says Ambrose, who strove to make the costumes merge seamlessly with the special effects. “She wanted to immerse the audience in the nostalgia and stay true to where we were initially as a reminder.”

The virtual reality–inspired experience, complete with a hologram of Elliott floating over the crowd and mirrored sets, called for amped-up versions of familiar favorites and a glitz take on the MTV “Moon Man.” “It’s like one of the moments from the 'Throw It Back' video, but I went for a different approach,” says Ambrose. “She’s landed on earth, so she’s in more of a hip-hop version of a spacesuit with an oversize parka and this beautiful crystal fabric and off-white sneakers so it’s low-key—or low-key for Missy.”

Ambrose dug into the archives but also modernized each look. “The Rain’s” sci-fi aliens received an update via backup dancers in glossy slickers and umbrella hats, while “Get Ur Freak On’s” miners were costumed in hand-weathered uniforms and spiked helmets for what Ambrose calls a “steampunk meets hip-hop vibe.” Even the scarecrows of “Pass That Dutch” received a sparkling treatment that popped against the darkened stage. “They’re a little bit blinged-out this time, a little flashy,” Ambrose says. “It was all about the drip, and for 'Lose Control” we took things further with custom-designed leather hoodies. In the video they were wearing blue hoodies and Dickies, but [now] everything is a little more luxurious.”

Since many of Elliott’s videos have become reference points for Gen-Z’s musicians, the imagery holds a special place in pop culture. While Ambrose is conscious of the esteem in which Elliott’s oeuvre is held, she wasn’t worried about trying to outdo her now iconic designs. “I’m very particular about references; sometimes you can use a reference so much that it starts to hinder you creatively,” she says. “You almost have to take the influence, walk away from it, and then reimagine it with your soul instead of the soul of the reference.”

Changes in technology impacted the looks too. “When I was working with LED lights 20 years ago, they were huge stick strips and nearly impossible to sew in,” says Ambrose who inlaid the spacesuit with flickering lights. “Now they’ve become so fine and can be used in so many different ways.” Those little details enhanced the immersive nature of the set. “It’s produced like a Vegas or Broadway performance,” Ambrose continues. “I wanted things with texture, to make you feel like you’re part of that music video experience.”

Tonight's looks—and those hanging at the Museum of Missy in SoHo—cement Elliott's icon status at the forefront of Afrofuturism, body positivity, and electronic production. “Seeing the work be celebrated this way is a dream come true," Ambrose says. “The reason why I have to didn’t stray too far from the originals is because when we were making those videos 20 years ago, we already were in 2020. The work was ahead of its time, and when you look at it now it’s going to feel just as forward and rich as it did then.”

Inside Riverdale Star Camila Mendes’s Ultra-Chic Comic-Con

Sure, you can attend Comic-Con International dressed as your favorite superhero, but Riverdale star Camila Mendes chose to spend her time in San Diego wearing stunning looks direct from the runways. On-screen as Veronica Lodge on the hit TV show, Mendes embodies the sophistication of a former Park Avenue princess, but her off-duty wardrobe is all about offbeat chic. On hand for a panel dedicated to the series’s upcoming fourth season, Mendes and her stylist Chris Horan pulled out statement pieces like Off-White T-shirts, metallic Sandro miniskirts, and ruffled silk tops from Markarian for a vibe Mendes describes as “effortless and cool.” Though she tends to avoid outfits that echo the style of her famous character, Mendes couldn’t resist going “vintage Veronica” in an Olivier Theyskens corset and plaid culottes by Silvia Tcherassi on the convention’s final night.

Of course, it wasn’t all outfit changes and photo-ops. The convention offered Mendes the time to chill with castmates Lili Reinhart and Madelaine Petsch—they enjoyed a girls night watching Friends—and connect with some of Riverdale’s most passionate viewers. “My favorite part of Comic-Con is the signing booth,” says Mendes. “We get to interact with fans and hear them talk about how much the show means to them.”

Kim Kardashian West Gets Real About Her Body-Sculpting Workout

"We’re back in the gym heavy!" wrote Kim Kardashian West alongside a picture of herself and her personal trainer Melissa Alcantara on Instagram today. Pausing their sweat session for a snap, the beauty mogul posted up against a piece of fitness equipment, leaning into a derriere-showcasing pose. The secret behind Kardashian West's sculpted backside? That would be weight training, as evidenced by her protective wrist straps.

"I would say every 6 months I take two weeks off from lifting," she continued in the caption. "Sometimes you just need a break to recharge and chill, but then I miss it so much and [it feels] so good to be back at it." Since enlisting Alcantara's help back in 2017, Kardashian West has been open about how incorporating weights has helped tone her muscles and define her famous frame. And while the Alcantara-curated routine is all-encompassing, including squats, deadlifts, and lunges, there's one weight-assisted move that stands above the rest for those who want to whip their booty into shape. "For anyone looking to get a serious butt workout in, it takes more than just one move," says Alcantara. "But if I had to choose, it would be weighted hip thrusts, which seriously work glutes and hamstring muscles."

And don't be fooled by how pristine Kardashian West's hair looks—her new sleek chop styled with a clean center and swooping ends—the posterior chain-targeting move is not for the faint of heart. But her curvaceous physique is proof enough: picking up the weights is well worth the burn.

Sarah Jessica Parker Is Serving Modern Carrie Bradshaw

The 21st anniversary of Sex and the City’s premiere may be right around the corner, but time hasn’t diminished the appeal of Sarah Jessica Parker’s iconic character, Carrie Bradshaw. She of the pink tutu and fearless outfits remains influential, even with the actress who portrayed her. In London last night to see a press night performance by husband Matthew Broderick during his West End debut in Kenneth Lonergan’s The Starry Messenger, Parker chose a look straight out of the Bradshaw playbook. Dressed in a black J. Mendel cocktail dress with a built in cape, she displayed her flair for drama and willingness to move beyond the basic eveningwear.

Reflective black lurex and a plunging neckline are tame compared to Carrie’s lace leggings and pastel furs. Still, real life isn’t an HBO dramedy. With her bold coral heels, playful bracelets by Saskia Diez, turquoise gems, and outré little black dress, Parker was modern and impossibly chic. No need to queue up old episodes of SATC, all the fashion inspiration you need is right here.

Baby, What’s Your Sign? This Label Is Channeling the Spirit of the Zodiac in Thoughtful New Ways

You could say the stars aligned when Rachel Borghard and Mia Kazovsky met as students at Pratt Institute five years ago. The two became fast friends and recently joined forces to launch Dooz, an astrology-inspired label, which debuts today. In lieu of the generic zodiac graphics you’ve seen everywhere else, Borghard and Kazovsky are thinking quite deeply about what the signs say about our style. Astrology is “assurance that the universe gets us,” they explain, and they believe each sign is “embodied within all of us”—even if it isn’t on your chart at all.

The first collection is launching with two items: a leather bag and a knit T-shirt, each in a celestial color to match the 12 signs. Driven by color, clean lines, and easy silhouettes, the designers even created their own symbols for the signs, which riff on the brand’s half-moon logo. They’re intentionally abstract, allowing you to experiment with different signs and colors; you aren’t limited to your sun sign (i.e., the one associated with your birthday). “On any given day, dressing for your sign can remind you of your strengths and help you fulfill your potential,” they explain. But sometimes you want to “borrow” the traits of another zodiac; maybe you’re a soft-spoken Pisces, but for your big work presentation, you want to channel the confidence of a Leo. Dooz isn’t just about wearing your sign on your sleeve; it’s about connecting with your inner self, being mindful of how you feel, and embracing the zodiac to express that through your clothes.

Borghard and Kazovsky say their own astrological charts have inspired their style and shopping habits. Kazovsky, for instance, is a Pisces sun, a Cancer rising, and a Scorpio moon and describes herself as compassionate, emotional, and with an active imagination. She tends to shop vintage because it allows her to be more creative with her style while also doing her part to reduce waste. According to her chart, there are elements of sentimentality, too, which Kazovksy connects to her penchant for previously loved clothes. When it comes to working on Dooz, she thrives in design and production. She says that working side by side with the people making Dooz’s pieces in their Los Angeles factory is “for sure my chart speaking!”

Borghard, on the other hand, is a Taurus sun and explains that being tactile is one of her key personality traits. That certainly comes in handy when she’s working on their knitwear. After selecting their fabrics and leathers from Italian mills and tanneries, Borghard found that the Taurus in her “thrives at sourcing materials.”

To start experimenting with your own signs, you can shop the collection on Dooz’s website today. Astrology newbies and experts alike should also bookmark the duo’s blog, “The Scope,” where London-based astrologer Madeleine Botet de Lacaze will contribute monthly horoscopes. Borghard and Kazovsky have also tapped a few of their influential friends to lend their astrological advice on the platform, including Paloma Elsesser, Olivia Perez, Gia Seo, and Niki Takesh. You can count on spotting them in Dooz’s colorful tees and bags later this summer. Pick yours up for $195 and $495, respectively, at dooznyc.com.

How Nollywood’s Rom-Com Queen Dresses to Impress

As one of Nigeria’s brightest stars, Adesua Etomi makes every outfit count. Nollywood, the nation’s thriving film community, is filled with well-dressed actresses, but Etomi leads a new generation of women who work locally but think globally. She is the rare leading lady who can move seamlessly between drama and comedy: Etomi trained in the theater, performing classics like The Crucible, before making the jump to the big screen with her breakthrough role in 2014’s Knocking on Heavens Door, which centered on an abusive relationship between a seemingly perfect couple.

Etomi’s dramatic work won her raves, but U.S. audiences know her best as Nollywood’s rom-com queen. Her uproariously funny global smash, The Wedding Party, satirized the tradition of fantasy nuptials down to the smallest detail and quickly became the nation’s highest grossing film of all time.

Though she stands at the center of the world’s second-largest film market (only India produces more), you don’t need to have be a cinéaste to keep up with her. On Instagram where she boasts over 2 million followers, Etomi’s presence looms large. She’s free to update fans about her latest projects, encourage them to vote in their local elections, and share a few sweetheart selfies with husband, musician Banky W., and she makes the most of her platform, especially where style is concerned.

Etomi is apt to share a picture of herself in ornate gowns from Lagos-based labels like Purple and Matopeda, or switch gears with a sharp Mai Atafo suit. She always makes a point to showcase the best in African design, keeping her outfits as varied as the roles she takes on.

Anita Hill Gave the Oscars After-Party Scene Its Most Meaningful Moment

Among the award winners and Hollywood legends mingling at last night’s Vanity Fair Oscar party, a special guest took center stage. Anita Hill, the groundbreaking activist, academic, and author made her Academy Awards debut. In a year when #MeToo, the fight for gender equality, and increased awareness about sexual harassment have changed the cultural conversation, Hill’s presence couldn’t have been more relevant. She arrived alongside Kerry Washington, who famously portrayed her in the HBO movie Confirmation and Barbra Streisand, adding gravitas to an event typically known for its glamour.

In a demure gown from Susie Cave’s label The Vampire’s Wife, Hill added to the night’s fashion quotient with a little help from stylist Karla Welch; the pair were introduced via former Glamour Editor-in-Chief Cindi Leive. “Cindi and I follow each other, so we obviously know what we both stand for—talk about the power of IG,” shared Welch who has never shied from political commentary on social media. “She felt like I’d be a good fit.”

Though they tried several pieces before settling on the final outfit, a long-sleeved black dress with lace embellished sleeves, Welch, who also styled fellow attendees including Amandla Stenberg and Sarah Paulson, went with her gut when it came time to decide. “We had [some] amazing looks. Man, Anita Hill looks great in everything!”she said. Understated with elegant detailing, the dress meshed with Hill’s personal style and capped off an evening Welch will never forget. “Honestly it was my honor,” she said. “Pinch me!”

Beyoncé Just Took the Ultimate Art-Selfie in This Luxury L.A. Concept Store

When Beyoncé and Blue Ivy go shopping, it’s bound to make headlines. And this week Just One Eye, the luxury boutique in Los Angeles, was the destination for their mommy-and-me adventures. Founded by former Maxfield artistic director Paola Russo, the store has gained cult status thanks to its unique mix of contemporary art and high fashion, and Beyoncé took full advantage of the space’s stunning collection of paintings. With Blue Ivy serving as photographer, she took the ultimate art-selfie in front of a work by Gary Lang. In Marques’Almeida’s striped jumper and matching pants, Beyoncé coordinated perfectly with the backdrop of reds and greens on Lang’s circular canvas.

Never one to skimp on accessories, Beyoncé added on a micro bag from Jacquemus and Oxydo eyewear’s circular sunglasses to complete her look. The end result was an eye-catching outfit immortalized with a multi-photo Instagram post that showed off each element, from the teensy purse to her outsize gemstone rings—each connecting back to the colors of Lang’s work. Designers often draw their inspiration from the gallery space, but it’s rare to see a celebrity do so. Whether her artsy take on dressing was the result of happenstance or careful planning, it made for a refreshing style moment.

Barack and Michelle Obama Top 2018’s Most Admired List

Though former President Barack Obama and First Lady Michelle Obama left the White House some two years ago, it seems they still have a strong place in America’s heart: The Obamas have topped 2018’s Most Admired list in an annual survey conducted by Gallup.

The annual survey was conducted December 3–12 this year, and asked Americans to name a living man and woman whom they admire most. It’s been a tradition since 1946, the first year the survey was asked. This year’s findings proved to be a bit of a switch-up from past surveys: It’s the first time in 17 years that Hillary Clinton hasn’t topped the Most Admired Woman list. (Michelle has been a runner-up to Clinton three times.) It’s Barack’s 11th year in a row at No. 1, and after he played Santa Claus at a children’s hospital this month, it’s really no surprise.

On the Most Admired list of men, current President Donald Trump followed Barack in second place, his fourth year in a row as runner-up, despite the fact that he has the worst approval rating of any U.S. president in modern history. He was followed by former President George W. Bush, Pope Francis, and Bill Gates. Other names that made the top 10 include Bill Clinton, Bernie Sanders, the Dalai Lama, and Joe Biden.

As for the most admired woman, Michelle—who has been busy traveling the nation on her book tour for Becoming, the best-selling hardcover of 2018—bested Oprah Winfrey, followed by Hillary Clinton in third. Current First Lady Melania Trump came in fourth, and Queen Elizabeth II in fifth. Other names on the top 10 are Angela Merkel, Ellen DeGeneres, Ruth Bader Ginsburg, and Malala Yousafzai.

Mr. and Mr. Polar Bear, Karaoke, and the Grinch: A Closer Look at the Holiday Windows

“Oh, I shouldn’t, I shouldn’t, okay—just break me off one tiny piece!” You can almost hear the tortured viewer moan, confronted with the colossus of desserts beckoning from Bergdorf Goodman’s holiday windows. How do you celebrate joy and abundance in this odd, unsettling year? At BG, the thinking seems to be that wanton gluttony is the better part of valor. Among the mouthwatering enticements is a gigantic white robot doubling as a soft ice cream dispenser and a red-and-white–striped candy cane–bedecked diorama that is a swirling homage to 1960s psychedelia.

Across the street at Tiffany & Co., there are cyborgs and foodstuff, as well. Gingerbread people bearing baubles are sliding into an oven (what is the melting temperature for gold?); a robot made of blue boxes is posed in front of a sign that reads “Ice”—a shout-out, we are sure, to the nickname for diamonds or the cube machine at the end of the hotel corridor, not a reference to that controversial force down at the Southern border. At Cartier, miniature mannequins dressed in Cartier uniforms topped with red bellhop caps are struggling to deliver stacks of tiny crimson boxes. But it is not all work and no play—some of these lilliputian employees are riding a Ferris wheel and cavorting on a roller coaster, oblivious to the fact that a panther is lurking nearby.

There is clearly a party going on at Bloomingdale’s, despite a corporate tie-in with that sour old creature the Grinch. (Then again, who doesn’t want at least one witty curmudgeon on the guest list, if only to counter the saccharine cheer?) The interactive windows include an opportunity to sing karaoke and the chance to have your photo projected on the display. (Geez, you look old! How many holidays have you lived through?) Several exhibits feature a sinewy Andy Warhol-esque figure—has he just come from his retrospective downtown at the Whitney?—along with haughty women whose bountiful hair put one in mind of Viva and Baby Jane Holzer. (Maybe these Warhol superstars wandered over from BG’s shindig?)

Warhol’s sensibility seems to have informed the starkly unsentimental windows at Barneys New York. In a radical departure from the elaborate efforts elsewhere, the store has opted for nothing but pennies—40,000 of them—stuck on a white board and visible when one peers through letters on the glass that spell out “Make Change.” (Barneys is partnering in a charitable drive with Save the Children.)

There are no pennies at Lord & Taylor this year. Once the queen of holiday windows, L&T has sadly replaced its legendary creations with “Everything Must Go” signs. This is also the last season for Henri Bendel, which announced it is closing in January. The windows there show a crude skyline rendered in what might be cardboard and drawn in a shaky child’s hand. The faux naïf buildings loom behind a gaggle of purses, one of which is a tote in taxicab yellow with the legend “Get Out of Town”—a poignant epitaph for this venerable 123-year-old business.

At Saks Fifth Avenue—itself more than a century old—the theme is “Theater of Dreams,” and the various vitrines are bathed in deep jewel tones. Is the study in scarlet an unwittingly tribute to the new opera Marnie, which debuted last month at the Metropolitan Opera? (Spoiler alert: Super-chic Marnie is afraid of the color red!) Around the corner on the 49th Street side of the store, the theatrical references are more literal. In one scene, a couple of characters leaning into makeup mirrors seem to be preparing for an audition for RuPaul’s Drag Race; next door, a pair of cute young guy mannequins are hanging out backstage, surrounded by vintage suitcases and musical instruments. Maybe they’re planning a naughty assignation after the final curtain call?

Or perhaps they are just dreaming of becoming a happy couple like the two polar bears in the window of Macy’s? We could all take a lesson from this pair: Amid the ruckus of the season, the horrors and the hatred all round us, they have turned off the TV, ignored the phone, and are enjoying hot chocolate from cups labeled “Mr.” and “Mr.,” fully at home in our beloved city, our own theater of dreams.

Fecal Matter Has Made Its Photoshopped Skin Shoes Into Actual Wearable Heels—And They’re $10,000

Hannah Rose Dalton of the duo Fecal Matter (also known by their French handle @matieresfecales, if you will) is learning to walk. The two-person group, comprised of Dalton and her partner, Steven Raj Bhaskaran, are known for their freakish, otherworldly visuals on Instagram. But the clip they just sent me is different than their normal content; it’s a home video of Dalton’s very first steps. In a simple black dress, a far cry from her typical extreme corset pieces, Dalton takes a few baby steps. Those clomps and awkward knee bends make me feel like I’m watching a just-born giraffe touch down on the ground. Or maybe a freshly birthed gangly goat. I hear Bhaskaran in the background: “Maybe show them the leg?” Dalton slightly lifts her dress to reveal the top of a fleshy cuissarde of the palest ivory. Dalton has gotten new feet—warped, alien, pulled, and tugged feet, to be exact. She’s wearing Fecal Matter’s latest creation, a skin boot that blends, or rather morphs, into its owner’s legs. It comes complete with a stab-you-in-the-eye satanic horn heel and defined piggy-wiggy toes. On the shin is a mini extension that curves upward like a thorny vestigial tail. The one non-lifelike part is a plastic platform that resembles an upside-down cup.

Fecal Matter, founded three years ago by Montreal-based Dalton and Bhaskaran, has been running a clothing line, playing deejaying gigs, and shocking followers through a fantasy-meets-reality Instagram universe. But their foray into footwear seems to be their biggest feat yet. Dalton and Bhaskaran began thinking about the shoes about a year ago around the time that I first spoke with them for a Vogue profile. “The biggest focus of the [Vogue] article was the foot and the shoe,” says Bhaskaran via Skype. “Everyone was like, ‘Is it Photoshopped? Is it not Photoshopped?’ We wanted to put it out in real life.” The digitally altered, not-for-walking foot shoe in question was a pair of nightmarish skin ballet flats, fashioned in a petrified en pointe form. They appeared stiff and possessed, boasting a steep scythe heel and squished angular toes. They were made with prosthetics and then perfected with Photoshop. For the duo, making these shoes wearable was to prove that their altered world on Instagram could be translated onto the sidewalks. “We can get this alien look and present it and tweak it with Photoshop and make it look really realistic,” says Bhaskaran. “But at the same time, there is always this dysphoria in us. There is this urge inside of us to take what we do on the Internet and try to create that via real life. That is what we are doing with the shoes.”

It was a long and lofty process to make the footwear. (There were four trial versions in total.) Each part was made out of silicon that was shaped and molded to match Dalton’s leg. Skin hue, dents, moles, the arch of the foot, and even the hair mimics Dalton’s actual leg. (“There are little hairs!” she says.) The duo worked with the artist Sarah Sitkin, who specializes in creating replicas of bodies and body parts. (Her latest project, “Bodysuits,” shows eerily lifelike, wearable silicon body tunics that show an array of sags, rolls, abs, and potbellies.) Dalton and Bhaskaran describe the creation of the shoe as a couture-type process. “The shoe is like when you are going to Chanel to get a wedding dress. You get the fittings and the customizations. For even me to get the shoe, I have to stand and each of my legs have to be perfectly molded,” says Dalton, while Bhaskaran adds, “It is like creating a custom art piece that is wearable.” The shoes, like anything Chanel, come with a hefty price: The starting rate for the thigh-high is $10,000.

Fecal Matter’s philosophy behind the footwear reflects what they think humans will eventually look like as a result of body modification, social media, and advances in technology. The two have long toyed with fantasy and reality, and the shoes are the latest example of how they merge the two worlds. But Fecal Matter isn’t the first group to dip into this sphere. This past August, Simon Huck, the makeup artist to the Kardashians, showed the exhibition “A. Human,” which included neck extensions and a corset that spawned roots, all of which questioned exactly how far body modification will go. Though, Bhaskaran insists Fecal Matter’s views are different from the “A. Human” ones, explaining that they’re interested in the functional potential of these modifications. Eventually, Fecal Matter wants to explore how their man-made extremities can be of use.

Shock value aside, the shoes are about connecting with a community—a longstanding value of Fecal Matter. “The bottom line is the masses aren’t going to adapt to this. It isn’t like tomorrow everyone is going to be wearing these heels, but we want the masses to accept it and see it as something not scary or intimidating,” says Bhaskaran. “Through our platform, a lot of people are gaining confidence and living their lives without fear.”

As for the future of skin heels? At the moment, Fecal Matter only has one pair, which the duo debuted today at their first-ever fashion show at the Mandrake in London. Although, they have plans to make more. Bhaskaran is currently in the midst of having their own made. “It’s going to have more hair,” they say. And for the rest of us? Fecal Matter has plans to churn out skin heels that will be more accessible and at a lesser price point. “We’re thinking pumps,” says Bhaskaran. Sounds casual, at least for Fecal Matter.

Goldie Hawn and Kate Hudson Team Up on a Fabletics Collaboration for a Good Cause

“These clothes are the go-to clothes of today,” says Goldie Hawn of her new collection for Fabletics, the fashion-forward fitness line created by her daughter Kate Hudson.

“[They] give you a sense of opportunity and a plan that ‘I am going to work out today.’ It’s a good mindset.” As the founder of MindUP, a nonprofit that benefits mental health initiatives for young people in schools, Hawn understands the importance of self-care and wellness. And it’s clear from their latest collaboration—the proceeds of which will go to Hawn’s charity—that mother and daughter have similar values.

“I just wanted to bring some insight into what my mom is doing and [use] our platform to share that,” says Hudson. According to her, the nine easy pieces in the collection were inspired by styles her mother loves and wears best, including an off-the-shoulder top and stylish jacket-and-trouser combinations. “She loves a wide-leg pant so we did a structured, wide-leg pant. I put it on the other day and even though I’m huge, it just turned out really great,” says Hudson, who is pregnant with her third child. “They reminded [me] of all [the pants] I wore in the 1990s. No one wore straight-leg. It was fun and brought me back to my dancing days.” Another must-have for Hawn? A zip-up black jacket style that pairs nicely with the relaxed flared pants in the collection. “It has a sense you could wear it out as well,” says Hawn, “it integrates into our lifestyle.”

There’s also a matching sports-bra-and-legging set covered in lotus-flower print, a motif that has special resonance for Hawn. “A lotus is really a symbol of wisdom,” says Hawn, “I have a connection to that particular flower; as it opens up so does your mind and your ability to be present.” Daughter Hudson agrees. “We live in an incredibly reactive time but part of what we’re forgetting, in order to connect properly, we need to be mindful of what we’re trying to get across,” she says. Now this mother and daughter are bridging their worlds with style.