La Vie en ROSS

Bold, funny, and un­equiv­o­cally glam­orous— TRACEE EL­LIS ROSS is hit­ting her stride

InStyle (USA) - - Beauty - by ROB HASKELL pho­tographed by HORST DIEKGERDES styled by KARLA WELCH

Hol­ly­wood. We are catch­ing her, Ross ob­serves, at a proud mo­ment in her own life and at a bleak one for the na­tion. She has spent some time lately con­sid­er­ing the con­nec­tion be­tween the two. “On the one hand this feels like the coun­try’s dark night of the soul,” she says. “If the U. S. A. were in a 12step pro­gram, it would need a re­ally big moral in­ven­tory. But one of the things that’s been spe­cial about this time is that there’s a space for one’s own unique ex­pe­ri­ence in a way that there wasn’t al­ways. The life promised by fairy tales and movies is not rel­e­vant in the same way—the white picket fence, blah, blah, blah—and there are more peo­ple telling sto­ries that have dif­fer­ent col­ors and fla­vors to them. Pose is on TV, and it is so good! This Septem­ber the mag­a­zines were cov­ered with black women. And with­black- ish, for us to be rep­re­sent­ing an Amer­i­can fam­ily is kind of ma­jor. When you can look at a story that is not in any way your story but see all the ways you iden­tify, that’s art do­ing its job.”

Black-ish has found suc­cess by ap­proach­ing sub­stan­tive is­sues with hu­mor. Through the evolv­ing story of the John­son fam­ily, the show has ex­plored top­ics rang­ing from gun con­trol to post­par­tum de­pres­sion, the N-word to po­lice mis­con­duct. “We’re us­ing com­edy to dis­cuss some real shit,” says Ross. “I think it’s stuff that all of us are chomp­ing on or won­der­ing how other peo­ple are deal­ing with. I would say that 70 per­cent of the peo­ple who come up to me on the street are 11-year-old white boys who are ob­sessed with our show. Where in their 11 years would the un­pack­ing of the his­tor­i­cal con­text of the N-word come up? I think that’s great.”

Ross de­scribes the char­ac­ter of Bow as a “lean-back woman”: some­one who does not have to jump into ev­ery mi­nor drama in her house­hold, in­stead al­low­ing things to un­fold as they will, her feel­ings about them al­ways in­scribed on her emo­tive face. Ross notes that Bow’s un­pan­icky de­lib­er­ate­ness par­al­lels her own in midlife. But un­like her char­ac­ter, she is not mar­ried and has no chil­dren. These are facts for which she is held to ac­count al­most daily. “It’s sort of fas­ci­nat­ing to be 45 and sin­gle and child­less,” she says. “Hap­pily sin­gle, I should add. Not at home cry­ing about it”—which she pan­tomimes with an out­size pout and the blot­ting of imag­i­nary tears. “These are very big and very per­sonal ques­tions that aren’t any­one’s busi­ness but that some­how, like the right to choose, be­come fod­der for pub­lic con­ver­sa­tion. Some of the abil­ity to re­flect on what I re­ally want comes from push­ing up against a so­ci­ety that shames me for not hav­ing the ex­pected trap­pings. I’m very pleased with my ex­is­tence these days. Have I had to learn to make friends with lone­li­ness? Yes. I think if I were in a re­la­tion­ship, it would be the same.”

In fact, “choice­ful soli­tude,” as she calls it, is one of Ross’s fa­vorite things. She reads. She tends to her le­mon trees. When she feels antsy, she plays dress-up in her closet, some­times in­vent­ing char­ac­ters along the way. Though she has many friends, she trav­els mainly by her­self. Ross talks for a liv­ing, and si­lence feels like a warm bath. Her wit and gre­gar­i­ous­ness—in­her­ited from her fa­ther, Robert El­lis Sil­ber­stein, alosan­ge­lesmu­sic ex­ec­u­tive—be­lie the fact that she has never been a party girl. “To get me out of the house is not so easy,” she says. “I lose my so­cial abil­ity af­ter 9 o’clock. My friends joke about it: You could be on a dance floor with me and we are go­ing”—here she throws her hands in the air, swivels her head, and of­fers a high-pitched whoop—“and you turn around and I’m gone.”

Ross grew up pri­mar­ily in New York, with ex­tended Euro­pean so­journs. De­spite Diana Ross’s enor­mous fame, she was a present and dot­ing par­ent to her five chil­dren; to this day, Diana and Tracee ( her sec­ond el­dest) main­tain an ex­tremely close re­la­tion­ship. “It’s funny,” Ross says. “I think re­al­ity tele­vi­sion has warped peo­ple’s sense of what hav­ing money or fame looks like be­hind the scenes. I have al­ways had a lot of abun­dance. I was very well ed­u­cated be­cause of my mother’s gift”—at elite prep schools in New York; at Le Rosey, the Swiss alma mater of the Roth­schilds, Rock­e­fellers, and roy­als; and at Brown Univer­sity. “I feel very aware of that priv­i­lege. There were beau­ti­ful things ev­ery­where, but there was a sense of tak­ing care of and cher­ish­ing beauty. And also of not tak­ing things too se­ri­ously. You could be climb­ing all over my mom’s head while she’d be sit­ting in an in­ter­view, putting your hand­prints on ev­ery­thing.”

And yet it could not al­ways have been easy be­ing the daugh­ter of one of the world’s most fa­mous peo­ple at the height of her fame—a topic Ross plans to ex­plore in a mem­oir she is work­ing on. “It’s a lot,” she says. “It’s not nav­i­ga­ble with­out a par­ent who is choos­ing you over ev­ery­one else. I grew up the way Blue Ivy [Carter, Jay-z and Bey­oncé’s daugh­ter] is grow­ing up—al­though at least there wasn’t so­cial me­dia.” Ross in­her­ited her mother’s—and fa­ther’s— love of fash­ion. (Con­sider the fact that for her 18th birth­day, she flew the Con­corde to Paris, stayed in Azze­dine Alaïa’s apart­ment, and got to choose three out­fits from his archives.) She worked briefly as a fash­ion editor af­ter col­lege be­fore dab­bling in mod­el­ing . Then she started au­di­tion­ing. But to this day, one of her fa­vorite ac­tiv­i­ties is vis­it­ing the racks of cloth­ing in her mother’s stor­age unit.

“It’s like go­ing to a mu­seum,” Ross says. “I’ll sound like a crazy per­son, but when I hold some of her ex­tra­or­di­nary orig­i­nal beaded stage clothes, there is a par­tic­u­lar Diana Ross smell, a mom smell, a cer­tain

per­fume that I just love. And some­times, when you open the gar­ment bags and there’s makeup or sweat or other ev­i­dence of the clothes be­ing worn—i find it re­ally ex­tra­or­di­nary. It’s an ar­ti­fact. You’re see­ing the full­ness of a life that ex­isted in that snap­shot of a mo­ment. That’s what cloth­ing has al­ways meant to me, and also prob­a­bly why I be­came an ac­tor. As a kid I saw my mom as the lady in the sparkly dress on the stage who sang, but as I’ve got­ten older, I’ve found the lan­guage to ar­tic­u­late that what I was see­ing was a woman in her full glory be­ing in con­nec­tion with this gift she was given, be­ing glam­orous and sexy but not in a way that’s ‘Look at me.’ We live in a ‘Lookatme’ cul­ture. I was raised toview sexy as be­ing at the height of your … self. Cloth­ing was one of the ways you could wear your in­side on your out­side.”

Ros­sowes her rep­u­ta­tiona­so­neof the red car­pet’s more dar­ing and sin­gu­lar dressers in part to her col­lab­o­ra­tion with stylist Karla Welch, who stepped into the breach when Ross be­came too busy to stay on top of the col­lec­tions. ( Welch also styled her for this shoot just af­ter the cou­ture col­lec­tions in Paris.) They are roughly the same age, reared on the orig­i­nal ’90s su­per­mod­els. In her spare time, Ross re­mains a pas­sion­ate shop­per, though these days that means stacks of boxes from Match­es­fash­ion, the Lon­don on­line re­tailer. She in­sists that she never in­ter­nal­ized the pres­sure to look good. “The glam­our I learned from my mother is easy, no-pres­sure glam­our,” she ex­plains. “And there’s a lot of joy in that.” As her own fame has grown, though, Ross has taken pains to make sure her fans ap­pre­ci­ate the ef­fort be­hind the im­age, as her In­sta­gram feed, with its mix of mag­a­zine cov­ers and makeup-less Mon­day­morn­ing shots, makes clear.

“The ‘I woke up like this’ thing? Bull­shit!” she says. “Black-ish is in HD, dar­ling! There’s no Vase­li­neon the­lenses. At 18 I might have wo­ken up like this. At 45 I fuck­ing work for it. I love potato chips more than any­thing in the world, and so I work out hard. I put masks on my face. I take­care ofmy­self. And, bythe­way, tome self-care does not mean go­ing to the spa. It’s learn­ing to say no. It’s know­ing your­self so you can make choices that are an ex­pres­sion of you. That’s self-care.”

And so is speak­ing out on the is­sues that are im­por­tant to you. In April Ross gave a TED Talk about an­other topic that she feels is healthy and vi­tal: the wis­dom of fury, an emo­tion that first stirred in her around the time of the 2016 pres­i­den­tial elec­tion. “It was a feel­ing that I didn’t have a lot of ex­pe­ri­ence with, that was a lit­tle bit be­yond anger,” she ex­plains. “It wasn’t frus­tra­tion. It didn’t have the fre­netic qual­ity of rage. The name that landed was ‘ fury.’ And I started to no­tice that I was hear­ing ‘ fu­ri­ous’ from a lot of peo­ple, a lot of women. As women, we’re told we’re not sup­posed to be an­gry. So what do you do when you’re push­ing up against that fiery feel­ing? In the con­text of #Me­too and Time’s Up, of fight­ing against sex­ual ha­rass­ment and for equal pay, what is the con­struc­tive way to be fu­ri­ous? We’re in an age when it’s easy to quickly vil­ify, and in some cases that is ab­so­lutely ap­pro­pri­ate. But I think the fury has a lot of wis­dom in it if one can sit with it in the right way.”

It’s al­ways been the case that where fury sim­mers, com­edy soars. And as much as Ross likes to get peo­ple to stop and think, there’s noth­ing she loves more thantomakethem­laugh. “I’masil­ly­gal,” she says. “Some of my best ma­te­rial hap­pens in ther­apy. And lately, my ther­a­pist has been on the floor.” n

where to be­gin to en­gage. Would you say to go and find your like-minded girls? GS: Yeah, I think we need each other. We can’t do it alone for very long. What I would say to them is not only to look up be­cause it makes us feel em­pow­ered, but also to look out for each other and we’ll know the things we can do. LB: What women in the po­lit­i­cal field are cur­rently im­press­ing you? GS: Max­ine Wa­ters is such a good, smart, brave woman. I’ve known her since the late ’70s. She was on the Ms. Foun­da­tion board when she was in the Cal­i­for­nia leg­is­la­ture. Cyn­thia Nixon had a pos­i­tive im­pact on the elec­toral race as well. LB: Are you in­volved in any vot­ing cam­paigns for the midterms? GS: I try to be help­ful in races where I can, like in Ge­or­gia with Stacey Abrams. She came to see me with some of her peo­ple, and I went to a ben­e­fit for her. I think she’s an ideal can­di­date. She un­der­stands how to de­scribe the is­sues in the way we ex­pe­ri­ence them. She has a per­sonal jour­ney that helps her un­der­stand peo­ple. She came from a very un­likely place into the state leg­is­la­ture. For her, it de­pends on the turnout out­side At­lanta. At­lanta is one thing, but it’s the coun­ties out­side. And in one of the poor­est coun­ties with the most black res­i­dents, they tried to re­duce the num­ber of polling sta­tions. LB: I read that Lyft is of­fer­ing free or dis­counted rides to get to the polling sta- tions. GS: Yes, we just have to keep go­ing. The one dis­turb­ing thing i’ ve seen lately is a poll of mil­len­nial women. There’s a group that’s po­lit­i­cal and cares but doesn’t see that vot­ing mat­ters. I un­der­stand the feel­ing of dis­il­lu­sion­ment with the sys­tem be­cause there’s been re­dis­trict­ing in the states. But, still, our vote is our voice. It isn’t the­mostwe can do, but it’s the least. LB: Es­pe­cially as a woman. How’s it go­ing with Time’s Up? GS: They’re quite or­ga­nized. The last meet­ing I went to was the one in Cal­i­for­nia for three days. They have launched ef­forts in dif­fer­ent in­dus­tries and es­tab­lished goals in terms of num­bers of women on the board and cre­ated a le­gal de­fense fund. I think they’ve done a good job. Be­ing at their meet­ings quite a lot made me re­al­ize that, as al­ways, they have sit­u­a­tions that are unique to the way they work. Lis­ten­ing to ev­ery­body made me re­al­ize that fe­male ac­tors are prob­a­bly the only women who are also com­pet­ing with each other for jobs. So what was mov­ing to me was to see how new it was for them to be to­gether and to be sup­port­ing each other. I also think there were a lot of mys­ti­fied men who didn’t quite un­der­stand that your body be­longs to you, and it’s the ba­sis of democ­racy. LB: What about the cur­rent fe­male re­sis­tance? In what ways is it dif­fer­ent from be­fore? GS: In that now it’ s a ma­jor­ity. It’s not in­trin­si­cally dif­fer­ent be­cause it’s still ba­si­cally say­ing, “My body be­longs to me.” We’re all hu­man be­ings; gen­der and race are not any kind of log­i­cal di­vi­sions. We’re unique as hu­man be­ings. But nowit’s the­ma­jor­ity, andthat­means that women are be­ing be­lieved. Also, it isn’t only that we live in a pa­tri­archy; it’s also that pa­tri­archy lives in us. So we also have to deal with the in­ter­nal­ized val­ues we’ve grown up with. LB: How do you feel about young women say­ing that they’re fem­i­nists? Is there a dif­fer­ent way they ap­proach it now? GS: Yes, it’s much more pos­i­tive and plen­ti­ful. LB: What’s go­ing to hap­pen 10 years from now for you? GS: I’ve given up the idea that I can con­trol what hap­pens. I just have to hang in there, be­cause as a writer, I have three more books that I want to do. LB: You have to! For the “crazy women.” But most im­por­tant, how are your belts? [ laughs] GS: I have a drawer full. That’s my idea of chang­ing my clothes: chang­ing my belt. It’s still the same.

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Ro­driguez/getty p. 56: Clock­wise from top left: Emanuele D’an­gelo; David M. Ben­nett; GC Im­ages; Dimitrios Kam­bouris/getty (2); Mike Mars­land/wireim­age; Daniele Ven­turelli/ Wireim­age p. 58: Clock­wise from top left: Pas­cal Le Se­gre­tain; Mike Cop­pola/getty; GC Im­ages; Franziska Krug/getty; Ste­fanie Keenan/ Getty; Ilya S. Savenok/getty; Jeff Kravitz/film­magic p. 60: Clock­wise from top left: GC Im­ages; Chris Aller­ton/rex/shutterstock; Kar­wai Tang/ Wireim­age; Neil­son Barnard/getty; Steven Ferd­man/getty; GC Im­ages; Sean Zanni/getty; Greg Do­herty/getty p. 61: Clock­wise from top left: Evan Agostini/rex/shutterstock; Donato Sardello/rex/shutterstock; Richard Saker/con­tour by Getty; courtesy El­iz­a­beth Ste­wart; Amy Dick­er­son/the New York Times; Ja­son Lloyd-evans; courtesy Chris Mcmillan; courtesy Yara Shahidi; Jeff Kravitz p. 63: Clock­wise from top: Rex/shutterstock (2) p. 64: Clock­wise from top left: Kevin Mazur/getty; Frazer Har­ri­son/getty; Steve Granitz/wireim­age; Rex/shutterstock; Va­lerie Ma­con/getty; Rich Polk/getty; John Shearer/getty; Rex/ Shutterstock (2) p. 66: Clock­wise from top left: Rex/shutterstock (2): Kevin Mazur/getty; Rex/shutterstock (3); Neil­son Barnard/getty; Rex/ Shutterstock (2); Steve Granitz/wireim­age p. 68: Clock­wise from top right: Rex/shutterstock; Jeff Kravitz/film­magic; Rex/shutterstock; courtesy Net­flix; Matt Winkelmeyer/getty; John Shearer/getty (2); Todd Wil­liamson/getty; Rex/shutterstock; courtesy Net­flix (4); Rex/ Shutterstock p. 73: Clock­wise from top right: courtesy Self-por­trait; TIPS; courtesy Keep­sake; courtesy Cit­i­zens of Hu­man­ity; courtesy Carel; courtesy Kenneth Jay Lane; courtesy Bauk­jen; Ste­fanie Keenan/getty; courtesy Mo­vado; courtesy Ro­cio; courtesy Coach; courtesy Charles & Keith; courtesy Karl Lager­feld Paris; Jamie Mccarthy/getty; Dave Kotin­sky/getty p. 74: Clock­wise from top right: courtesy Maje; courtesy Effy; courtesy Boohoo; courtesy Gabriel & Co.; courtesy Fabi­ana Filippi; courtesy Dior; courtesy Whis­tles; courtesy Zara; Erik Pendzich/rex/ Shutterstock; courtesy Ma­rina Ri­naldi; courtesy Stu­art Weitz­man; courtesy Agent Provo­ca­teur; Brian Henn; styling: Sab­rina Grande; courtesy TAG Heuer; courtesy Equip­ment; John Lam­parski/wireim­age; Ax­elie/bauer-grif­fin/film­magic p. 76: Clock­wise from top right: courtesy Leigh Miller; courtesy ASOS; courtesy Mercedes Castillo; courtesy French Con­nec­tion; courtesy Herno; TIPS; courtesy Isla; Bryan Bep­per/getty; courtesy Hilary Radley; courtesy Vince Ca­muto; courtesy Alice + Olivia; Brian Henn; styling: Sab­rina Grande; courtesy Mrs. Pres­i­dent & Co.; Mike Cop­pola/getty; Gil­bert Car­rasquillo/film­magic p. 78: Clock­wise from top left: courtesy Meghan Pierotti Lim & Meghan Milloy p. 80: Clock­wise from top left: Spencer Platt/getty; An­drew Licht­en­stein/getty; courtesy Christina Os­mena; Scott Eisen/getty; Bill Clark/cq Roll Call; courtesy Young Kim; David Weigel/getty; Tom Wil­liams/cq Roll Call; Akasha Rabut; courtesy Alma Her­nan­dez; courtesy Chrissy Houla­han p. 82: courtesy Katie Sturino p. 85: Clock­wise from top left: Vic­tor Boyko/ Getty; courtesy Mango; courtesy City Chic; courtesy Maria Black; courtesy H&M; Brian Henn; styling: Sab­rina Grande; courtesy Ann Tay­lor; courtesy Es­cada; Ed­ward Berth­elot/getty; courtesy Dooney & Bourke p. 86: Clock­wise from top left: Brian Henn; styling: Sab­rina Grande; courtesy Chimi; courtesy End­less Sum­mer; courtesy White House Black Market; courtesy Is­abel Marant; The Style Stalker/blaublut Edi­tion; Brian Henn; styling: Sab­rina Grande; courtesy Bulova; courtesy Sim­ply Be; courtesy ASOS; courtesy Nine West; Ed­ward Berth­elot/getty; courtesy Top­shop; Brian Henn; styling: Sab­rina Grande; courtesy Zara (2); courtesy ASOS; courtesy DKNY; courtesy Le Specs p. 87: Clock­wise from top left: Brian Henn; styling: Sab­rina Grande; courtesy Vera Bradley; courtesy Me­lanie Auld; courtesy Aldo; courtesy Tibi; Brian Henn; styling: Sab­rina Grande; courtesy Kate Spade; courtesy Charles Keith; courtesy L’autre Chose; courtesy Aquatalia; courtesy Guess; courtesy Tal­bots; courtesy Franco Sarto; courtesy Dolce Vita p. 88: Courtesy Khaite; courtesy El­los; courtesy Eva Men­des Col­lec­tion New York & Com­pany; courtesy Tory Burch; courtesy Staud; courtesy French Con­nec­tion; courtesy DKNY; courtesy Pan­dora; courtesy Aeydē ; courtesy Iris & Ink; courtesy Pan­dora; courtesy A New Day; courtesy C/meo Col­lec­tive p. 91: Clock­wise from top left: Mark Lim; sit­tings editor: Ann Ja­coby; hair: Nate Rosenkranz/ Honey Artists; makeup: An­drew Colvin; manicure: Yuko Wada/ate­lier Man­age­ment; Brian Henn; styling: Sab­rina Grande (4); courtesy 7 for All Mankind; courtesy Ever­lane; courtesy J.han­nah; courtesy Brah­min p. 92: Clock­wise from top left: Mark Lim; Brian Henn; styling: Sab­rina Grande (4); courtesy Aqua; courtesy Mango; courtesy Vince Ca­muto; courtesy Trade­mark p. 93: Clock­wise from top left: Mark Lim; courtesy Sam Edel­man; courtesy Club Monaco; courtesy Tibi; courtesy J. Crew; Brian Henn; styling: Sab­rina Grande; courtesy Michael Kors; Brian Henn; styling: Sab­rina Grande; courtesy Ba­nana Re­pub­lic; courtesy Alighieri; courtesy H&M; courtesy Bulova p. 94 Clock­wise from top left: courtesy Ulla John­son; courtesy Jen­nifer Meyer (4); courtesy Juicy Cou­ture; Matt Baron/ Rex/shutterstock; TIPS; courtesy The C & the Moon; Snap­stills/rex/ Shutterstock; TIPS (2); Re­becca Emery/getty; courtesy Jen­nifer Meyer pp. 96–97: David Schulze; styling: Sam Broekema; manicure: Yuko Wada/ Tbd/ate­lier Man­age­ment p. 99: Mike Mars­land/wireim­age p. 100: Clock­wise from top right: courtesy Beau Nel­son; Ge­orge Pi­mentel/ Wireim­age; Gregory Pace/rex/shutterstock; TIPS; Christo­pher Polk/ Getty; Jack­son Lee/getty p. 102: Clock­wise from top right: Fra­zier Har­ri­son/getty; TIPS; courtesy Mai Quynh; Chelsea Lau­ren/rex/ Shutterstock; Christo­pher Polk; David Liv­ingston/getty; Trae Pat­ton/ Nbc/getty p. 104: Clock­wise from top right: GC Im­ages; David Fisher/ Rex/shutterstock; TIPS; Jean-bap­tiste Lacroix; courtesy Rosie Hunt­ing­ton-white­ley; Kevork Djansezian/getty; Arthur Molan/rex/ Shutterstock p. 107: Clock­wise from top right: courtesy Harry Josh; courtesy YS Park; TIPS; courtesy Quai; courtesy Kristin Ess; courtesy Nexxus; TIPS; Getty; courtesy Nexxus; courtesy Lacy Red­way; MEGA; courtesy Lacy Red­way p. 108: Clock­wise from top right: courtesy Jil­lian Dempsey; TIPS (2); courtesy Dr. Bar­bara Sturm; TIPS; courtesy Laura Mercier; courtesy Tom Bachik (2); courtesy Iconic Lon­don; courtesy OPI (3); courtesy Chanel (2); Getty; TIPS p. 110: Clock­wise from top right: courtesy Mar­cus Francis; Chelsea Lau­ren/va­ri­ety/shutterstock; courtesy Bi­ologique Recherche; courtesy Dr. Bar­bara Sturm; TIPS; courtesy Au­gusti­nus Bader; courtesy Joanna Czech (2); TIPS; courtesy Suave; courtesy R+CO; courtesy Harry Josh; Getty; courtesy Dyson p. 116: Clock­wise from top left: Terry O’neill/iconic Im­ages/getty; Richard Young/rex/shutterstock; Mar­ion Cur­tis/rex/shutterstock; Gregory/ Rex/shutterstock; David M. Benett/getty; Splash; TIPS; courtesy Decorté p. 117: Clock­wise from top right: Jonathan Leib­son/getty; Va­lerie Ma­con/getty; Frazer Har­ri­son/film­magic; courtesy Harry Josh (2); courtesy John Frieda; courtesy Harry Josh; courtesy Serge Nor­mant; courtesy Harry Josh (2) p. 118: Clock­wise from top left: courtesy Olivia Wilde; TIPS; courtesy True Botan­i­cals (2); Getty (2); courtesy Lord Jones; courtesy Golden Door Spa; courtesy True Botan­i­cals; TIPS; courtesy Olivia Munn; courtesy Y7 Yoga Stu­dios; Getty p. 122: Juer­gen Teller p. 123: Clock­wise from top right: Pas­cal Le Se­gre­tain/getty; Samir Hus­sein/wireim­age; courtesy Dior; TIPS; courtesy Tweez­er­man; courtesy Rim­mel Lon­don; courtesy Burberry; TIPS; Dave Al­loca /Rex/ Shutterstock p. 126: Jong Hyup; styling: Wendy Schelah/hal­ley Re­sources p. 128: Clock­wise from top left: JP Yim/getty; courtesy Ur­ban De­cay; Vic­tor Vir­gile/getty; courtesy Ted Gib­son (2); TIPS; courtesy MAC Cos­met­ics; courtesy Jil­lian Dempsey p. 132: Clock­wise from top left: Ja­son Laveris/film­magic; TIPS; courtesy Flower; Astrid Staw­iarz/getty; Alessan­dro Lu­cioni/imax­tree; courtesy Hot Tools Pro­fes­sion­als; courtesy Tre­semmé p. 135: Tung Walsh/2dm Man­age­ment pp. 136–145: Horst Diekgerdes/shotview; styling: Karla Welch/the Wall Group; hair: Lacy Red­way/nexxus/the Wall Group; makeup: Ti­ina Roivainen/air­port; pro­duc­tion: Oc­topix pp. 146–147: Martin Schoeller/art + Com­merce; styling: Ryan Young; hair: Made­line Freiberg, Priscilla Bruce, Taryn Kasa, Lux Chris­tian Alexan­der; makeup: Fa­tima Olive, Leah Peter­son, Lianna Colestack; prop styling: Mickie Clark; pro­duc­tion: Code Cre­ative Ser­vices pp. 148–157: Phil Poyn­ter/ser­lin As­so­ciates; styling: Vanessa Chow/streeters; hair: Ben Sk­ervin/the Wall Group; makeup: Yuki Hayashi/ Chanel Les Beiges/streeters; manicure: Kelly B./maxus Nails/de Facto Inc. pp. 158–163: Rob­bie Fim­mano/wal­ter Schupfer Man­age­ment; styling: Sean Knight; set de­sign: Ali Gal­lagher/jones Man­age­ment; groom­ing: Kathy San­ti­ago; pro­duc­tion: Kelsey Stevens Pro­duc­tions pp. 164–171: Tung Walsh/2dm Man­age­ment; styling: Julia von Boehm/streeters; Chloë Grace Moretz: hair: Gregory Rus­sell/r+co/the Wall Group; makeup: Kathy Le Sant/open Ta­lent; So­phie Turner and Laura Har­rier: hair: Chris­tian Wood/wella/the Wall Group; makeup: Naoko Scintu/the Wall Group; manicure: Brenda Abrial/open Ta­lent Paris; set de­sign: Fa­bi­enne Eisen­stein; pro­duc­tion: Oc­topix pp. 172-175: Jen­nifer Liv­ingston p. 177: Tay­lor Hill/film­magic; John Par­rot/getty pp. 179-180, 182: Johnny Miller/edge Reps.; styling: Lau­rel Pantin; hair: Clara Leonard/ate­lier Man­age­ment; makeup: Markphong Tram/shi­seido/artists by Ti­mothy Pri­ano p. 188: From top: Sergiy Barchuk; Paul Archuleta/film­magic

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