The Tempest Issue-Emma Ch

2 DAVID LYNCH. “AIRPLANE IN SKY / ANT (DETAIL)” (2022). MIXED MEDIA. 48” X 48” X 3”. UNFRAMED FRAMED SIZE: 58 ½” X 58 ½” X 6”.

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CONTRIBUTORS

Lori Bailey is a professional wedding photographer who also en- joys chasing extreme weather. Lori’s work has appeared in major publications including June 2021 Backpacker Mag and Cosmopolitan Magazine in 2022. Whether chasing tornados, haboobs, or elusive sprites, Lori’s dedication to pursuing extreme weather allows her to consistently capture evocative imagery unique to her craft. Lori is the director of Monsoon Con, an annual convention that unites photographers and weather enthusiasts. Lori photographed storms on pages 74 and 76. It’s a snow day! What are you going to do? I’m grabbing my camera, German Shepherds, and heading out to the mountains in southern Arizona to capture a rare opportunity to see the fresh white powder on the ground! Molly Dickson is a NY/LA based celebrity stylist. Molly began her fashion career at Marie Claire magazine and departed editorial to pursue celebrity styling. Her work can be seen on red carpets, ad campaigns and magazines worldwide. Molly styled Sadie Sink on page 162. It’s a snow day! What are you going to do? Work in front of the fire cuddled up on the couch with my puppy drinking hot chocolate or wine. Von Ford is a Wardrobe Stylist and Creative Director. Originally from New Jersey, he began his career in Fashion working in New York showrooms. After a number of years in the business side of Fashion, he decided to switch gears and pursue his interest to work

in creative and styling.Von’s current focus is brand consulting, edi- torial, and celebrity work.Von styled Kaytranada on page 220. It’s a snow day! What are you going to do? Not go outside LOL. I am going to spend the day home, open a bottle of red wine, cook, and watch episodes of Martin . Samantha Hahn is an illustrator, photo art director, author, and the founder of Maison Rainbow working with a range of clients in- cluding The New York Times , Hermes of Paris , The CFDA , Chloe , Vogue Japan, US, and Mexico, Architectural Digest , Goop , Paris Review and more. Her work has been internationally exhibited from New York to Hong Kong and recognized by The New York Times , American Il- lustration , Society of Illustrators & Communication Arts . Samantha’s illustrations feature in The Tough Tempest and Her Seven Stages on page 204. It’s a snow day! What are you going to do? Taking the kids sledding and then drinking hot coffee with cinnamon while reading a book under a blanket. Beatrice Hazlehurst , forever on the pulse of pop culture, has built her reputation creating click-able content for outlets dominating the media landscape in credibility and clout.The New Zealand-born writer, presenter, and tiramisu-fiend found her feet in New York, and now lives in Los Angeles where she remains in humble service of her Persian cat, Penelope Cruz. Beatrice wrote the cover story on Emma Chamberlain on page 232. It’s a snow day! What are you going to do? Making snow angels.

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CONTRIBUTORS

Juankr is a photographer and filmmaker based between New York and Europe. He always knew that cinema, photography, and art are a really important part of his vision. This is why, after working for several multinational companies, he decided to follow his passion and leave everything behind. He graduated with the prestigious Master of Professional Studies in Fashion Photography from The School of Visual Arts in New York. Juankr photographed Milena Smit on page 140. It’s a snow day! What are you going to do? I am walking in the forest in the North of Germany with my beauti- ful wife, Carlina, and our dogs! Kapka Kassabova is a writer of narrative nonfiction, poetry, and fiction. She grew up in Sofia, Bulgaria, and lives in the Scottish Highlands. She is the author of To the Lake and Border, and a finalist for the National Book Critics Circle Award. Her forthcoming book, Elixir , will be published by Graywolf Press in May 2023. Kapka’s book Elixir features in the considerations on page 310. It’s a snow day! What are you doing? I will go out and make a snow angel, I believe. David Lynch (b. 1946, Missoula, MT), Eagle Scout. David created this issue’s art cover and features on page 276. It’s a snow day! What are you going to do? I would try to count my blessings!

Juergen Teller (b. 1964, Erlangen, Germany) studied at the Bayeri- sche Staatslehranstalt für Photographie in Munich, before moving to London in 1986.Working across different genres of photography, Teller has shot fashion campaigns for numerous luxury brands, as well as editorials for prominent art and fashion publications. His work has been exhibited internationally. Teller has published over 50 books and was a Professor of Photography at the Akademie der Bildenden Künste Nürnberg from 2014-2019. Juergen photo- graphed Christeene on page 190. It’s a snow day! What are you going to do? Enjoy the snow. Giovanni Uche is a Nigerian-born British Illustrator. He is an Au- diobook guzzling, philosophically intrigued and socially interested artist. With a daily intake of video games and film soundtracks, he spend my time studying and improving wherever he can in his craft, all with the goal of being able to craft greater and more inspiring stories. Giovanni’s illustrations feature in TheToughTempest and Her Seven Stages on page 204. It’s a snow day! What are you doing? I love it. I am a fan of staying warm in cold spaces if that makes sense. I’m boiling water for a cup of tea, putting on a slow jam record and cosying up in my chair. Prepping my space for work. A snow day is an indoor day and I relish every moment of it. If not drawing I’m either watching movies with the fam, gaming with mates or possibly baking up something warm.

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Image: ...and of time (aot 4) (detail), 2000. Uta Barth (born in West Germany, 1958, active in the United States). Chromogenic print. 88.9 × 114.3 cm. J. Paul Getty Museum. © Uta Barth. Text and design @2022 J. Paul Getty Trust

HAMILTON, ANN. SENSE. RADIUS BOOKS, 2022. P. 147, WOOL SWEATER IN THE OHIO STATE UNIVERSITY HISTORIC COSTUME & TEXTILES COLLECTION; FROM THE EXHIBITION WHEN AN OBJECT REACHES FOR YOUR HAND, WEXNER CEN- TER FOR THE ARTS, COLUMBUS, OHIO, 2019; NEWSPRINT. COURTESY OF ANN HAMILTON STUDIO.

CONTENTS 44 Editor’s Letter If Those Clouds Could Talk 46 Appetizer Meet the Girls Who Chase 48 Sense TheTouch,The Feel,TheTransience of the Storm 52 Sheroes Entertainment There’s a Whisper Com- ing from the Starboard Side 56 Matthew Kenney The Plant-Based Power House 58 Payzee Mahmod Stop the Senseless Deluge, End Child Marriage 60 Robbi Jade Lew Chesting One’s Cards Never Meant So Much! 62 Easy Breezy Cassette Intrecciato Because the Players Only LoveYou When They’re Playin’ 66 Party Shirt Is This Thing On? 70 Dafne Keen The Forecast Calls for Stardom 78 David Dawson Let’s See if All Three of Us Can Fit Under this Umbrella

84 Robyn Hitchcock The Serpent is Sentient, Man 90 Delilah Belle Hamlin Vespa? I’ll ShowYou aVespa 98 Alexander McQueen Accessories Sometimes, the Wind is More Than Us 106 Asher Angel Don’t Stand in the Way 112 Chloe Kim Let’s Ride Out this Avalanche, and Soon We Can Rent a Car 118 Billy Childish Don’t Let the Name FoolYou.This Guy’s Extremely Serious 128 Madelyn Cline It Would be So Nice to Take Ref- uge in this Co-Working Space 140 Milena Smit All Seasons Have Edge, So Deal with It 154 Michèle Lamy & Danny Minnick Don’t Tell Them About These Tricks I Turn 162 Sadie Sink Just Riding Out the Storm in this Expensive NYC Hotel

Talent: Barry Keoghan photographed by Jason Hetherington and styled by Jay Hines. Barry wears DIOR MEN sweater, shorts, socks, shoes, necklace, and saddle bag. Sauvage Face & Beard Moisturizer, Dior Backstage Powder-no-Powder & Dior Lip Glow #000 Universal Clear. Emma Corrin photographed by Federico De Angelis and styled by Mui-Hai Chu. Emma wears all clothing, jewelry, and accessories by MIU MIU . Milena Smit photographed by Juankr and styled by Nicolas Klam. Milena wears all clothing and accessories by SAINT LAURENT BY ANTHONY VACCA- RELLO . Kaytranada photographed by Yana Yatsuk and styled by Von Ford. Kaytranada wears KAPPA jacket and pants and BURBERRY shoes.

CLASSIC FUSION AEROFUSION CHRONOGRAPH ALL BLACK SHEPARD FAIREY

DAVID LYNCH. “TRI- COLOR HIGHRISE LAMP” (2022) COLD- ROLLED STEEL AND RESIN. 57 ½” X 14” X 24”.

CONTENTS

174 Barry Keoghan That’s Some Fabulous Knitwear 190 Christeene Let’s Hit Manhattan with Juergen Teller and Some Balenciaga, Alright? 204 The Tough Tempest and Her Seven Stages The Stages of the Storm, as Told by Friends and Family 220 Kaytranada Just Quietly Crushing It Over Here, Ok? 232 Emma Chamberlain I’ll Show You Emotions, You Tempest You 246 Paul Dano That Celluloid Burns Brighter than the Sun 260 Emma Corrin This Umbrella Actually Feels More Suitable for Two 276 David Lynch The Weather Man’s Bongos 284 We Hereby Summon the Deities of the Air Photographed by Alvin Kean Wong and styled by David Taveras 298 Rainy Day, Go Away Photographed by Juankr and styled by Nicolas Klam 310 Considerations Written by Bill DiDonna, Caitlyn Tella, Melanie

Jane Parker, Madeline Cash, Erica Brown, Gerry Read, and Kapka Kassabova Art Cover: David Lynch. “Airplane in Sky / Ant (Detail)” (2022). Mixed me- dia. 48” x 48” x 3”. © David Lynch, courtesy Pace Gallery. Talent: Paul Dano photographed by Isaac Anthony and styled by John Tan. Paul wears all clothing and accessories by BOTTEGA VENETA . Madelyn Cline photo- graphed by Andi Elloway and styled by Britton Litow. Madelyn wears MAJE jacket and shirt, EÉRA necklace, and BEA BONGIASCA rings. Sadie Sink photographed by Kat Irlin and styled by Molly Dickson. Sadie wears all cloth- ing and accessories by THOM BROWNE . Emma Chamberlain photographed Kanya Iwana and styled by Mui-Hai Chu . Emma wears ZADIG &VOLTAIRE tank top and shirt and CARTIER earrings, necklace, bracelet, and ring.

PHOTOGRAPH: JIMJTURNER

EDITOR’S LETTER

long before the high - flying hullabaloo of high fashion and hollywood hijinks , i was a Subway Sandwich Artist on the Great Plains. One night, the local tornado sirens wailed, and we were advised by our manager, via landline of course, to take shelter in the walk- in refrigerator, where the whole wheat and Italian footlongs were thawing ahead of their bake session. After some giggles and some pepperoncini nibbles, I became curious and tip-toed back out onto the floor. Through the floor to ceiling glass panes, I could see, in the east of town, a giant funnel cloud, bruise-colored and agitated, trying to make contact with the corn fields. At once, the all-powerful wind arrived, and the large windows, with which I viewed the wannabe tornado, began to wobble and do a sort of slow motion belly dance without freeing their panes. Needless to say, I returned to the fridge, and the funnel moved on. Storms are beautiful and mysterious. They’ve driven culture and lore, destroyed lives and delivered salvation. And it’s only when you’re face to face with a storm’s unequivocal power that you realize there is poetry in their disruption, that yours is a particulate and vulnerable granularity in a larger cosmic scheme. We engineered The Tempest Issue because storms, more than ever, are grabbing head- lines and unmooring livelihoods. Because destinations are encountering storms that ha- ven’t historically. And because, symbolically, the tempest is within all of us... and one of the many challenges we face here on earth is whether to ride it out, or concede its conse- quence. Along with pictorial homage to storms peppered throughout, we consider other types of atmospheric calamity—from the social upheavals in Iran (pg. 58), the imperative to re- think our diets in the face of inclement food patterns (pg. 56), the seven psychological stages of the tempest (pg. 204), the eye of the LA nightlife storm (pg. 310), and more. Enjoy The Tempest Issue, and we’ll leave you with this Hunter S. Thompson quote a friend happened to send me while in the heavy rain of this issue’s final push (minorly modernized): “So we shall let the reader answer this question for themselves: who is the happier person, they who have braved the storm of life and lived, or they have who have stayed securely on the shore and merely existed?”

Sincerely, Matthew

APPETIZER

We wouldn’t know the power of the storm with- out the bold and brave front liners, directing their waterproof lenses into the hurricane’s eye, the fun- nel clowd’s cortex, the monsoon’s retina, the del- uge’s dark and dizzying iris. Girls Who Chase is a collective of female storm chasers based around the world who are working to diversify the culture of storm chasing. Girls Who Chase’s mission “is to inspire, empower and equip girls and women to pursue storms, the sciences, and their passions.” Throughout The Tempest Issue, we chase storms captured here in the wunder-weath- er US of A by the collective’s founder Jen Walton, along with members Melanie Metz, Tori Ostberg, and Lori Bailey, from Arizona to Iowa, South Dakota to Illinois.

TORI OSTBERG. “SONORAN FIRE” CAPTURED IN JULY 2021. EXACT TIME UNKNOWN/ LOCATION. SOMEWHERE ON A NATIVE AMERICAN RESERVATION SOUTHEAST OF PHOENIX, ARIZONA.

HAMILTON, ANN. SENSE . RADIUS BOOKS, 2022. P. 130–132, SYCAMORE LEAF FROM THE PROJECT WHEN AN OBJECT REACHES FOR YOUR HAND, WEXNER CEN- TER FOR THE ARTS, COLUMBUS, OHIO, 2019; FLATBED SCAN. COURTESY OF ANN HAMILTON STUDIO.

AN ATMOSPHERE OF EVOLUTION Weathering the notion of touch and tactility with new hardback, Sense , by artist Ann Hamilton

Written by Tamara Jiji

HAMILTON, ANN. SENSE . RADIUS BOOKS, 2022. P. 220–221, STUDY SKIN OF AN ASSAM MACAQUE IN THE COLLECTION OF THE BURKE NATURAL HISTORY MUSEUM AT THE UNIVERSITY OF WASHINGTON; FROM THE EXHIBITION THE COM- MON SENSE, HENRY ART GALLERY, SEATTLE, WASHINGTON, 2014–2015; FLATBED SCAN. COURTESY OF ANN HAMILTON STUDIO.

HAMILTON, ANN. SENSE . RADIUS BOOKS, 2022. P. 144, STUDY SKIN OF A PUFFIN IN THE OHIO STATE UNIVERSITY MUSEUM OF BIOLOGICAL DIVERSITY, TETRAPODS COLLEC- TION; FROM THE EXHIBITION THE COMMON SENSE, HENRY ART GALLERY, SEATTLE, WASHINGTON, 2014–2015; FLATBED SCAN OF TISSUE GAMPI. COURTESY OF ANN HAMILTON STUDIO.

HAMILTON, ANN. SENSE . RADIUS BOOKS, 2022. P. 156, STUDY SKIN OF A BLUE JAY IN THE OHIO STATE UNIVER- SITY MUSEUM OF BIOLOGICAL DIVERSITY, TETRAPODS COLLECTION; FROM THE PROJECT WHEN AN OBJECT REACHES FOR YOUR HAND, WEXNER CENTER FOR THE ARTS, COLUMBUS, OHIO, 2019; WAND SCAN. COURTE- SY OF ANN HAMILTON STUDIO.

of a leaf drying, to the weight and vulnerable underside of the birds who were once alive. Each is a fixed moment in a river of change.” Sense is a compilation of works accumulated over many years, stretching across multiple medi- ums, including photographic por- traits, flatbed scans, and more. This latest title adds to Hamilton’s al- ready extensive artistic repertoire, re-establishing her as the multi-me- dia maestro she’s known as today. When asked at which point she felt the book in its entirety reached a state of completion, Hamilton replies, “This book is the conse- quence of the time and process- es of its making. I also recognize that it could have been or could become ten other books, related but different. I love the process of sequencing the images, how when you change one image everything changes, how two images, sitting accidentally, side-by-side, changes both images and creates something wholly new.” When asked about the respon- sibility of the viewer in experienc- ing Sense , Hamilton aptly responds, “How we pay attention is every- thing. Perhaps the felt qualities of these images—their sequences and their relations—is a slowing down, is a registering, is a settling into the sense of things.” And with that, we are met with Hamilton’s primary objective behind the book—to cul- tivate attention in the hyper-dis- tracted whirlwind of information in which we live, to appreciate the un- relenting storms, and their imprint on everything and everyone.

ery seldom are we confronted with the fundamental ideologies we were introduced to as children. One of the first things a child is taught is the five senses—sight, sound, smell, taste, and touch. While most of these senses are softly explored and evoked throughout visual artist Ann Hamilton’s new hardback, Sense (Radius Books) , the latter—that of touch—serves as its overarching motif. The feather of a bird, the scarf of a doll, the hands of a stranger...Hamilton redefines the word ‘palpable,’ orchestrating a storm of sensory stim- ulation. “How could I ever describe it in words,” Hamilton begins the ensemble with, setting the tone for what’s to follow—a collection of inexpressible works that do not call for the clari- ty associated with written description. Works that target one’s soul rather than one’s mind. Works that instead of begging the question, rather, answer the question. The color palette throughout the book paints a picture, one created intentionally by Hamilton. “The greys, the blue-greys, the desaturated pinks of twilight create the weather of the book,” she shares. “Twi- light is my time of day—there is less light, but you see more.” In tandem, an overall feeling of respite and contentment permeates throughout the book, almost as if to identify with, and tap into, each reader. For we’ve all been the leaf left lying along the sidewalk, the residual rubble remaining after a storm. Throughout, Hamilton defines and reimagines the idea of ‘sense.’ She likens it to cloth’s hand, a daily walk, the soft underside of a bird, and the press of a body against a membrane. In doing so, she almost anthropomorphizes her subjects, attributing life and value to them. “I am drawn to the fold of the fabric,” she explains, “to the press of a sleeve or shoulder, to the curl

BELOW: HAMILTON, ANN. SENSE . RADIUS BOOKS, 2022. P. 168, BUR OAK LEAF; FLATBED SCAN. COURTESY OF ANN HAMILTON STUDIO.

I Wanna See,Wanna

SEE ‘EM DANCING The Tempest Be Damned with Sheroes Entertainment and the LA Mermaid School

Written by Franchesca Baratta Photographed by Brett Stanley

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nature of the acting business. “In acting you’re always dependent on someone else liking you,” she says. “You’re always dependent on what the look is of the season, and if you’re not that, you’re not working. We do original characters because anyone can be a mermaid, which means that there is no right answer to what a mermaid looks like.” LA Mermaid School is an educational division operating under Sheroes, offering training for amateur mermaids or pros looking to polish up on their mermaid magic. The school has been utilized for training on film sets, in professional pho- toshoots, and as challenges for TV shows such as Germany’s Next Topmodel . “Normally, if people in LA are looking for mer- maids, they call us,” says Hankins. She adds that beyond oc- cupying a special niche, educating the next generation on the ocean’s ecosystem is a rewarding perk of her occupation. “One of the most amazing things for me is making people’s worlds bigger,” she says. Hankins leads a team of mermaids who are trained for any

depictions of mermaids in pop culture are as fluid as the water they inhabit, drifting from tales of evil seductresses to beautiful ingenues who dream of love and life on land. They represent both miraculous serendipity and absolute tragedy, acting as sav- iors who lead sailors to desired destinations, or tricking them into death. Our belief in these sea creatures traces back thou- sands of years, popping up in the art, literature, and folklore of several different cultures around the globe. Perhaps this is be- cause mermaids represent a power that humans don’t unders- tand—the symbols of a greater, intangible fear of the unknown. And perhaps it’s only natural, as our relationship to water be- comes ever the more pressing, as our personal tempest persists against us, to look towards familiar mythology to help navigate the storms of everyday life. Virginia Hankins is a renaissance woman: an actress, a stunt woman, a professional archer, a mermaid, a modern day lady knight, and a mother. She’s the founder of Sheroes Entertain- ment, a party services group partially inspired by the unforgiving

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possible opportunity: underwater modeling, performing at par- ties, tank shows, traveling jobs. They’re required to be lifeguard certified, which Hankins also guides them through, but each mermaid has an unteachable spark in their personality that al- lows them to connect to the audiences they perform for. They must be prepared to prove themselves to skeptical children, have scholarly knowledge of sea-life, and the core strength to maneuver a 30-pound tail with a smile on their face and whimsy in their voice. “We’re acting, we’re improvising, and we’re being athletic at the same time,” says Carolina Gutierrez. “The magic happens after, but people don’t see everything that goes on be- hind closed doors.” Mermaiding requires a firm grip on adventure and imagina- tion, and their honest dedication to the role might be a symptom of their commitment to something bigger than themselves. “As a mermaid,” says mermaid Quintessence, “you can have a spe- cial connection with kids that you can’t have as an adult or an outsider perspective, because kids… you’re right in there, you’re

right in their imagination, you live right there all the time in the forefront of their head. Getting to play off of their own imagina- tion and add to it, and then fuel that into something even more beautiful is my favorite part.” Then, there are times when kids remind the mermaids what it means to be human. “I really like kids, there’s very rarely, if ever, a kid that I don’t like,” adds mermaid Elizabeth Champion. “I think kids and people are inherently good, and sometimes it gets lost a little bit along the way, but working with huge groups of five year-olds will remind you of that—that we’re inherently good.” We live in a modern world, one that no longer requires us to blame mystical forces for our fortunes and misfortunes. Our collective circumstances may vary, but people are arguably the same: the same desires, fears, needs, and dreams. Perhaps these stories are not echoes of the unknown, but mirrors of our natural imagination and inspirations—and perhaps it may be beneficial to pull inspiration from generations of cultural lore to pilot the surmounting seas of change.

MATTHEW KENNEY

RIDING THE STORM

REQUIRES RATIONS, THE SUPER FUTURE? SO WHY NOT RATION FOR

Written by Maddie Dinowitz Photographed by Suede Williams Styled by Soaree Cohen

it ’ s not unusual to hear of success stories go - ing against the winds of the status quo—and yet, defiance with longevity is exceedingly rare. In French culinary school, most classically-trained chefs discover exactly what they want to do with food. Contrarily, Matthew Kenney—who, for over two decades, has led a global explosion of plant- based cuisine concepts from Venice Beach to Bahrain—learned exactly what he didn’t . Turned off by the tradition’s dependence on butter, salt, and fat, Kenney felt at a crossroads between his personal values and what he was trained to do. Impassioned by the booming health and well- ness movement of the 1990s, and a desire to do things differently, Kenney helped pioneer a cu- linary movement that has been amassing global momentum ever since. In his hometown of coastal Maine, Kenney fell in love with the apple cider and natural hon- ey sourced from his family’s farms. Here is where the chef found a deep connection between the earth and its flavors. “I developed a real sense of quality ingredients,” Kenney says. “I was always very attuned to sourcing the best product possi- ble. And that was just something inherent in the way I was brought up.” In culinary school, most aspiring chefs saw veganism as a roadblock—Kenney saw it as an opportunity. “I would never have done this if I didn’t think it was the most exciting cuisine and the future food,” he explains from his home in

world with more clarity,” he explains, “and understanding how things work and cultural influences on cuisine. It just gave me such a great viewpoint on the world.” Today, Kenney has opened over thirty establishments that seek to alter people’s views on conscious eating. Whether it be a food hall with several vegan vendors, a plant-based pub for college students, or a high-end restaurant that challenges beef consumption in Brazil, each concept has its own unique spin on it. “The restaurant business in and of itself is a storm,” he tells me. But the chef doesn’t just brave the storm—he rides

Los Angeles. “I felt like, ‘Wow, there’s a whole new frontier out here.’ It’s so much more interesting than simply buy- ing chicken breasts. We can create a whole new cuisine that doesn’t exist.” The world of Kenney—now an author, educator, and en- trepreneur—has only grown, resulting in a network of restau- rant concepts and workshops across the globe. From Los An- geles to Buenos Aires to Sydney, Kenney has transformed his vision into something greater—and that the movement has deep cultural significance is not lost him. “You start to see the

PAUL SMITH shirt and VACHERON CONSTANTIN watch. Groomer: Daphne Chantell

it, and effortlessly at that. Amidst the pandemic, the innova- tor originated new opportunities to keep both his staff and his mission to encourage plant-based diets afloat. Kenney auspiciously expanded his network, creating Food Future Institute, a culinary educational experience with thousands of students online. Beyond culinary and business training for chefs, the program seeks to educate those on food sci- ence and the importance of sustainability. “Education is one of the most critical aspects,” Kenney remarks, “because as one company, we can only do so much. But the reality is, we

really need to create an army of people who can make plant- based food delicious, appealing, and fashionable.” Matthew Kenney has revolutionized ethical food con- sumption through dynamic strategies that extend far beyond the four walls of a restaurant. When you sit down at one of Kenney’s establishments, you’ll recognize that veganism is far from just vegetables on a plate. For Kenney, food is far more than sustenance. Food is the power of creative imagi- nation, food is a way to see the world, and most importantly, food can rewrite the landscape of the future.

Talent’s own coat, blazer, top, pants, boots, earrings, and ring.

PAYZEE MAHMOD THE THUNDER INSIDE YOU ALL

Written by Shei Marcelline Photographed by Lee Malone Styled by Ashley Powell

april 27, 2022 marked a powerful accomplishment and simulta - neous exhale of relief for 35-year-old Child Marriage Survivor and Campaigner, Payzee Mahmod. Mahmod sat next to fellow activists within the UK’s Houses of Parliament, mitigated by what she had witnessed. Following an arduous ten-year-long battle to ban child marriage in England and Wales, legal action finally passed to ensure that no child in the UK will legally endure Mahmod’s own childhood experiences. Mahmod shares, “It was absolutely crucial to us that we ban child marriage in every form—when the law change happens, it will include cus- tomary, traditional, religious, and registered marriages.” The result of this fight is by no means an end to Mahmod’s cam- paigning journey. As a representative of the Iranian and Kurd- ish Women’s Rights Organization (IKWRO), Mahmod has since

lobbied for the end to hymenoplasty and virginity testing and spoken publicly about her own experience in child marriage; The first time being her TEDx Talk “Payzee Mahmod: A Survi- vor’s Plea to End Child Marriage.” Now a recipient of the UK’s 2022 Global Citizen Prize: Citizen Award, Mahmod shows us all how a voice once silenced, roars at the forefront for others. Married to a man nearly twice her age, for a 16-year-old Payzee Mahmod, things didn’t feel right. Having grown up in London, Mahmod’s memories of her family life and its Kurd- ish heritage orbit around social status, a dictation of fortune and opportunity. Undermining this cultural imperative, Mahmod’s elder sister reported abuses to authorities and was consequently removed from the home. The communal ostracism that followed was too much for her father to bear, and resulted in Payzee and

Hair & Makeup: Nisha Gulati Location: Stockwell Studio, London GIVENCHY coat, hoodie, pants, and cuff earrings.

her late sister Banaz’s coercion into child marriage. While Mah- mod was able to escape her marriage after two years, her sister Banaz was murdered in an honor killing—a wrongful, yet famil- iar fate for child brides who take a stand . “That is the reason I left my child marriage,” she says. “When I saw my sister go through that, I knew I had to get out. There was no other way. I knew my fate could potentially end up like hers. In a weird way, she saved me from going through even more abuse in my own marriage.” In 2020, Mahmod spoke publicly as a survivor and cam- paigner during her first TEDx Talk, advocating for humani- ty’s call-to-action rather than the absence of interference from passersby. For Mahmod, red flags were saturated around her—a stranger could have changed her fate.When asked how she wishes someone might have helped her, Mahmod shares, “It’s as simple as asking somebody if they’re okay. When you look at scenarios like that, you can tell something isn’t right. I do feel as a society, as much as we’re standing up in solidarity for one another, we still have a long way to go in feeling re- sponsible for one another, and making sure that when we see something wrong, we question it. We don’t look away. Ques-

tion things because you never know—you might save some- one’s life.” As an activist, Mahmod refuses to wait for the storm to clear. “Growing up,” she shares, “I never thought about using my voice in any way. I always had this reaffirming message, as a girl, that I should be as quiet as possible. Going from that to speaking to audiences is something I never take for granted. I’m now able to use my voice and speak out, but I also know there are many women and girls who cannot do it safely. Just as we’re having this conversation, I’m thinking of the women in Iran who are out on the streets, marching every day, and risking their lives for speaking. It’s something I’m trying to be comfortable with, because all these years of being silenced, it’s hard to stand in that power and own that.” With an upcoming second TEDx Talk and participation in UN’s 16 Days of Activism—activism against gender-based violence, Mahmod continues to instill hope. After experiencing the eye of the storm Payzee Mahmod reminds us that we do not need to wait out the storm and let it take its toll. Instead, we must shelter one another and caution the storm that our roars are louder in unity.

ROBBI JADE LEW A MAVERICK HAND,

A TUMULTUOUS DOWNPOUR

Written by Augustus Britton Photographed by Andi Elloway Styled by Gorge Villalpando

on the table is a $269,000 reason to not judge a book by its cover . but poker does that ; poker judges books, faces, hands, expressions, men and women. And that $269, 000 reason? It was won by Robbi Jade Lew, a Saudi Arabian-born woman with a striking countenance and a whip smart brain, a former biopharmaceuticals manager turned poker playing savant. Last month, Lew won the hand in question by throwing down an unprecedented Jack 4—as the card players call it—and to the poker-uninformed, this hand is like seeing a leprechaun in Times Square. But there’s a catch here—a perfect storm, if you will—evinced by the mo - ment’s maelstrom of media coverage from the BBC to CNN to The Los Angeles Times and all in between, wherein Robbi Jade Lew took part in what turned out to be no normal game of poker. Let’s set the scene: Lew is surrounded by a half dozen or so men at said table. Again, she is a far cry from the slouchy, tired looking card slingers that surround her. And little does she know, she is about to be thrust into the card playing spotlight like no other player before, with what is being called the most insane hand ever played .The backlash has been fierce and incendiary from the moment she laid her winning hand down at that Hustler Casino live-stream table event. “It’s probably the biggest event in poker history,” Lew admits, eyes sparkling, hands shimmering like glass, “and maybe even more so because of the way I look, the way I am. And there’s only 5 percent of women that even play in professional poker, and even less that play in super high stakes.” As Lew’s hand drops, you can practically hear the hands on the wall clock tick. The man she won against, a seasoned winner, is white as a ghost. What follows is a bold accusation of her cheating, and an investigation against Lew announced by the casino, which is still ongoing and may never be solved for good, because, after all, with cheating or insinuations of: your word is as good as mine. But, mind you, Lew has taken every possible measure to prove her innocence, even go- ing so far as taking a lie detector test (which she passed swimmingly), and giving the money she won back to her (what can only be seen as misogynistically insecure) competitor imme- diately following the bombshell victory, based on his demeanor and the insinuations that something was afoul.The only thing Lew would have done differently, she tells us, is that she would not have given the money back if she knew she was going to be explicitly accused of cheating. Since the hand, Lew has done interviews with just about every major publication around, proclaiming her innocence from the jump, “I’m not nervous about any of this. I have nothing to hide, you know?” She said recently in The Los Angeles Times , “I feel like if I stay quiet and let the world come up with their own stories and their own story line, that for me mentally is more detrimental than coming out and speaking my own piece.” It’s phenomenal to think that Lew only started really sinking her teeth into playing poker during the beginning of the worldwide COVID -19 lockdown. She studied passionately and started winning high-stakes private games. And it should be noted that it typically takes a poker player at least a decade or two to reach the professional ranks, and certainly the ta- bles that Lew is now seated at. Watch (for either your own poker edification, or a display of full-blooded drama) the hand in question, available on YouTube and countless poker blogs, and is an absolute wonder of contemporary theatre—with characters not typically cast in such dominant roles.

Lew is no stranger to this game, though—not the poker game, but the game of women having to claw and fight for their seat at the proverbial table. Being a Middle Eastern wom- an, and coming from a culture that has notoriously treated women as second-class citizens in many aspects of life, this battle isn’t exactly new. “There is no other sport that has this kind of gender disparity,” she shares. “Most women feel completely unwel- come when they sit down at a poker table, and everybody remembers you when you’re a woman [because there are so few of us].” Ultimately, Lew credits her father with telling her that she can be any- thing she wants to be, and breaking free of cultural restrictions, even re- counting one story in particular where he told her she could even be the pres- ident of The United States. But I’m a woman , Lew responded. That doesn’t matter, her father encouragingly told her, you can be anything you want to be—remember that. Lew isn’t going anywhere. She will continue playing hands at the big- gest tables, and not only looks to put this scandal behind her, but hopes it will draw more positive awareness to a game that has been historically shack- led by masculine gatekeepers. And she shares that the support she has been given across the world, from men and women poker players alike, has kept her fire ablaze amidst the furor. It encourages her to ride the storm, to continue fighting the good fight for a game that has long been itching for a new a star.

TOD’S shirt. Right hand: talent’s own horseshoe diamond ring, EMANUELE BICOCCHI stone ring, and BEN BRIDGE emerald cut diamond band and diamond wave ring in white gold. Left hand: talent’s own triple-band ring, BEN BRIDGE oval diamond halo band in yellow gold, LOREE RODKIN aquamarine stone and diamond ring, and talent’s own

horseshoe diamond ring. Hair & Makeup: TerraRose

BOTTEGA VENETA Cassette in Foulard Intrecciato in sunburst.

BOTTEGA VENETA Cassette in Foulard Intrecciato in porridge.

Easy Breezy

Cassette Intrecciato

Photographed by Ryan Jenq Styled by Gozde Eker

It’s said thunder only happens when it’s raining, and innovation is the wind of wonder and whim- sy. Consider the latest iteration of Bottega Veneta’s smoldering staple Cassette Bag, which sees creative director Mathieu Blazy integrate a ruching process prior to its intrecciato weave, along with a pinch of plissé—resulting in a sense of of movement, of ‘craft in motion,’ that leaves one with just enough wind beneath their wings to embrace what lies ahead. A breezily beautiful thing.

BOTTEGA VENETA Cassette in Foulard Intrecciato in pool.

BOTTEGA VENETA Cassette in Foulard Intrecciato in avocado and white.

Left to right: Xavier wears FENDI shirt and shoes and KEISER CLARK pants. Nick wears HERMÈS sweater and pants and FENDI shoes.

PARTY SHIRT

TURNS OUT THERE'S ALL

KINDS OF UMBRELLAS OUT THERE

Written by Megumi Murphy Photographed by Angella Choe Styled by Cameron Garcia

Left to right: Xavier wears AVRIL 8790 sweater, HERMÈS pants, FILA shoes, DARKAI jewelry, and OAKLEY glasses. Nick wears AVRIL 8790 sweater, FLANUER HOMME pants, DARKAI jewelry, ARNETTE glasses, and FENDI hat.

it ’ s a peculiar time for both the artist and the viewer on social media . Our daily lives are quietly but constantly disrupted by a storm of never-ending output. For the artist, there is the challenge of getting the work seen and liked, fighting through a relentless algorithm that is made to break you or reward you. For the viewer, the challenge of finding art, music, literature, or whatever feels meaningful can be a numbing quest. This tempest is a paradoxical one, especially for some artists who find themselves notarized for something they don’t necessarily care to be known for. There’s a difference between gaining a following and building a fanbase, and perhaps those who navigate their platform with both pa- tience and intention are the lucky few who can have their cake and eat it too. For PARTY SHIRT, aka Ivy and X, aka the “Fact or Cap” video purveyors and TikTok wunderkinds, it has really always been about the music—their one true love. Xavier Di Petta (“X”) and Nick Iavarone (“Ivy”) are prepared for the voyage they’re faced with— come what may—consciously and strategically steering through the early stages of their career with unwavering passion and, above all, a methodical pace. “We’re trying to look at stuff in a 10-year time horizon,” they say, with Ivy confessing, “It’s about honing in on the image of our brand. We want to be releasing on the right labels, opening up for the right people, and playing the right venues. Not cutting or selling ourselves short just to get in front of more eyeballs. Let’s do it the right way.” PARTY SHIRT is particularly known for the aforementioned TikTok segment, “Fact or Cap,” an oracle of knowledge to all the curiosities we are too lazy to investigate or affirm. The series sees the duo performing life ‘hacks,’ whereby they prove everyday things factual, or dispute them as “caps,” or lies [like if Red Bull does in fact give you wings or if you can revive raisins to grapes by blowing them up like a balloon].With 20.7 million followers, they’ve found themselves “fight- ing the preconceived notion of TikTokers trying to do music,” X remarks. But with faith and loyalty to their craft, and four years of music production under their belt before the emergence of TikTok, PARTY SHIRT aims to showcase the reason they entered the platform in the first place—to exercise their artistic nature. And if you’re lucky enough to catch a live set, the results are filthy good. PARTY SHIRT best describes their yin and yang relationship with an interpretation of an Aristotle quote: “The sum of the whole is greater than the parts on their own.” The duo in-

novates through trial and adjustment, which makes sense for the ever-chame- leonic social media sphere, and they’re motivated by uncovering deep cuts that reveal unexpected outcomes. “Every- thing’s a chance anyways,” says X, “so there’s no point being so hard set on a ‘yes’ or ‘no,’ because the honest truth is: no one knows what’s going to work un- less you put it out there.” It would be easy to understand PAR- TY SHIRT leveraging their TikTok fol- lowing to expand their music career.Yet the challenge of rebuilding a following in an entirely different niche, partic- ularly with house music, is not a pro- cess they are intimidated by. Yes, their allegiance to their most cherished art form shall lead them confidently down a path less traveled. While it might be said there are innumerable paths to the same destination, PARTY SHIRT proves that choosing a path, and do- ing so with conviction, is the true test of spirit. In the end, it’s not about out- running the tempest, but growing roots deep enough to withstand it.

A 70

Left to right: Nick wears KEISER CLARK sweater and shorts and DARKAI jewelry. Xavier wears CASABLANCA jacket and pants, CALVIN KLEIN tank top, PACE shoes, and DARKAI jewelry. Groomer: Aliana Moss

DAFNE KEEN CLOUDLESS, WITH ENDLESS VISIBILITY

Written by Eloisa de Farias Photographed by Dominic Clarke Styled by Cher Coulter

17- year - old actor dafne keen instantly charms me by asking me about my day . She furrows her brows and nods attentively in response. It then strikes me that I can forego any clichéd talk of the weather. It would seem wherever Keen goes is sunny, bright, and perfect for picnicking. Keen’s performances thus far in her career are met with undeniably capti- vating energy. At her desk, she scribbles on a piece of paper, trying to figure out what kind of handwriting her character might have. In her mirror, she twitches her mouth and nose in an effort to learn what their resting face might look like. Her preparation is tireless. The British-Spanish actor commenced her career at the young age of 10, starring as Ana “Ani” Cruz Oliver on the television series The Refugees in 2015, which tells the story of a rural Spanish community coming to terms with a ref- ugee crisis. Her breakthrough came in 2017 when she landed the role in the su- perhero film Logan as Laura. Her acting was praised highly and she took home an Empire Award for Best Newcomer. On being in the acting world from such a young age, Keen tells me the na- ked truth. “I think it’s a very interesting and terrifying age to be an actress,” she says, “because now is the moment when I’m no longer protected by the fact that I’m a kid. I’m coming to terms with my new job that I’m on right now, because it’s very strange—I’ve never entered a job as a woman.” In 2019, Keen began starring as Lyra Belacqua in the hit BBC/HBO televi- sion series His Dark Materials , a fantasy drama based on the trilogy of the same name written by Philip Pullman.The show follows headstrong and willful Lyra, who is on a quest to find a missing friend. On the way, she discovers a secret that

LOUIS VUITTON dress and stylist's own necklace.

leads her to learn about numerous kidnappings. Keen promises that the largely anticipated season 3, which will premiere in December, will be full of new adventures for Lyra and company. You could say Keen and Lyra grew up togeth- er. Inseparable as ever, the two investigated first love, sexual awakenings, and dealing with death and grief simultaneously. Keen started filming His Dark Materials in peak adolescence; The world has accordingly watched her and Lyra metamorphose into adults. “I think that was why Jane Tranter (ex- ecutive producer) decided to hire an actress who was the age of the character,” Keen remarks. “Be- cause it’s really been quite easy for me to empa- thize with the growth of Lyra—I was going through a real-life version of what Lyra was going through.” His Dark Materials is significant and intel- ligent, particularly when it presents the idea of dæmons. Dæmons are the physical manifestation of one’s inner self. They present themselves as an- imals capable of human intelligence and speech. Their purpose? To help understand one’s soul. Ly- ra’s dæmon is a Pine Marten named Pantalaimon. Keen elaborates, “I think one of the best meta- phors in His Dark Materials is: when you’re a kid you have a very clear sense of self, and then when you hit your teenage years, you don’t anymore. As you get older, what you have to do is kind of try to get to that place you were in when you were a kid, but from an adult point of view, which I think is what happens with Lyra and Pantalaimon. You have to break the bone to rebuild it again.” In other words, dæmons equate to healing your inner child. Keen lives up to this idea effortlessly. On her co-star Lin-Manuel Miranda’s last day on set, they filmed in the Brecon Beacons in Wales, amongst luscious quarries and mountains.The 5 AM air was brisk, and the actors held hot water bottles to their chests. “As we all know, Lin is an amazing rapper and an amazing freestyler,” Keen remembers of navigating the moment with youthful openness. “He came up with the idea of doing freestyle rap battles. However, everyone was super bad except for him. Then we had warm tea and played hot hands. It was childish and just very fun.” As of late, Keen has taken on a project that she can’t disclose much about, but she did tell me it involved intricate preparation. A testament to her boldness, she tackles the challenge openly. “ I feel invincible when I’ve done something that I was too scared to do before,” she asserts. “For example, I’m doing a job now for which I need to do some training, and every time I manage to do something that I wasn’t able to do the day before it’s amazing.” We might have skipped talk of the weather, but one does wonder what the forecast might be like for Dafne Keen this upcoming sea- son? We wait and see. But rest assured, she won’t be needing an umbrella.

ACNE STUDIOS dress and gloves and stylist’s own necklace. Hair: Narad Kutowaroo Makeup: Sara Hill Location: Kingsland Locke, London

LORI BAILEY. CAPTURED ON JULY 17, 2022 AT 8:03 PM NEAR STANFIELD, ARIZONA.

LORI BAILEY. CAPTURED ON JUNE 6, 2022 AT 3:12 PM EAST OF OELRICHS, SOUTH DAKOTA.

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