Category: Beauty


Le Journal Magazine: Le Journal is an international professional hairdressing magazine.

Here, what’s new with one talented hair industry pro team. Relish the magnificent simplicity of these feature images!

Hair by @colbаcolorbar
Photography and retouch by @kananian
Styling by @pashapavlov_official
Makeup by @tatiana_lavsky



LES CHAÎNES D’OR DE CHANEL: Holiday 2020 Collection

“To pay tribute to Gabrielle Chanel’s love for gold, the ROUGE ALLURE timeless shades are enriched with light-reflecting golden sparkle.”


A powerful symbol of the House, the legendary golden chain interwoven with black leather is reinterpreted by Lucia Pica in this limited-edition collection for the holiday season. The CHANEL Global Creative Makeup and Colour Designer paints a portrait of a strong, radiant woman with a colour palette of deep, golden shades for a bold makeup look.


It might not surprise you to learn that many were looking for face masks, disinfecting wipes and hand sanitizer.

Street Style PFW Face Mask

Photo: Edward Berthelot/Getty Images

In its annual Year in Search report, Google releases (like the name suggests) the top trending searches — which it defines as terms that saw an increase in traffic compared to the previous year, according to a representative from the company — from users in the U.S. These typically range in topic and nature, from the names of actors, athletes and politicians to how-to’s. Its 2020 findings were made public on Wednesday, and the fashion-, beauty- and shopping-related categories, specifically, reflect the realities of living amid the Covid-19 pandemic.

Questions on how to cut hair at home and where to buy face masks, disinfecting wipes and hand sanitizer abound, as do inquiries about skin care and various ingredients found in products. We also see trends that have been emerging over the past few years, like TikTok-favorite products and style archetypes, make the cut. You can look through the full report here; below, discover Google’s top trending searching in the fashion and beauty spaces.


How to cut men’s hair at home
How to plop hair
How to color your hair at home
How to wash your hands
How to style curtain bangs
How to cut women’s hair
How to do knotless braids
How to fade hair
How to trim your own hair
How to dermaplane


Where to buy PS5
Where to buy toilet paper
Where to buy face masks
Where to buy Xbox series X
Where to buy hand sanitizer
Where to buy Ju-C jelly candy
Where to buy Nintendo Switch
Where to buy Lysol spray
Where to buy Clorox wipes
Where to buy N95 mask


What is the best skin care line
What are the best skin care products
How to build a skincare routine
What order to do skincare
What is AHA in skincare
How to get rid of acne
What does vitamin C do for your skin
What does hyaluronic acid do
What does toner do for your face
What is combination skin


What does vitamin C do for your skin
What does hyaluronic acid do
What does retinol do
What does toner do
What does niacinamide do
What does lactic acid do
What does clean skin care mean
What does glycolic acid do
What does micellar water do
What does serum do

Noah Cyrus outfit
Maria Taylor outfit
Lil Nas X Grammy outfit
Billie Eilish Grammy outfit
Lizzo basketball game outfit
Jennifer Lopez Super Bowl outfit
Travis Scott Natman outfit
Melania Trump outfit
Harry Styles outfits
Shakira Super Bowl outfit


Indie style
Streetwear style
Alt style
Urban style
Skater girl style
80s style clothing
Boho style
E girl style
Y2K style
Retro style



In a queasy year for retail, the department-store holiday extravaganza gleams on.

Credit…Jackie Molloy for The New York Times

David Hoey, the senior director of visual presentation at Bergdorf Goodman, was sitting in his “war room” the other day when his cellphone rang. Mr. Hoey begged a visitor’s pardon; the phrase “little crisis” was invoked.

“Are you kidding me?” Mr. Hoey said into the phone. “So where you’d go? All right. Let me call you back. Get the 16. How many do they have?”

Mr. Hoey pocketed the intrusive device and looked up apologetically. These were the final hours of an undertaking nearly a year in gestation: On Nov. 16, curtains on Fifth Avenue would drop, revealing Bergdorf’s holiday windows.

Happy Saks-giving! Broadway hoofers at the windows unveiling.
Happy Saks-giving! Broadway hoofers at the windows unveiling.

For the most important selling season of the year, the venerable department stores of New York have marshaled their resources for elaborate displays of festive cheer. These are a family tradition and a tourist destination, a spare-no-expense arms race for delighted gasps, bugged eyes and Instagram feeds.

“It’s a juggernaut right now,” Mr. Hoey said. “Here’s what we’re looking for: We’re trying to induce aesthetic delirium.”
There are the classicists (Macy’s, Lord & Taylor), the innovators (Barneys New York) and the razzle-dazzlers (Bergdorf, Saks Fifth Avenue), but whatever the style, the import is clear. November and December are the biggest months in retail, and the windows help suck customers in, not with product so much as theme. Even for those who can’t make it to the windows, those themes radiate outward, setting the tone for the season: in store, online, in mailers and on all-important social media, a 360-degree wallop of shoppable holiday spirit.
Foot traffic: At this time of year, retailers pull out all the stops to get customers into stores.

“The competition is the most intense it is all year,” said Jamie Nordstrom, the president of stores for Nordstrom, which is already planning the windows for the seven-level, 320,000-square-foot women’s store the company will open on Broadway and 57th Street next fall. “We’re pulling out all the stops.”

Henri Bendel, which came to the area in 1913, will close in late January, after the holiday season. Its owner, L Brands, announced in September it would close all Bendel stores and e-commerce in order to focus on its larger brands, including Victoria’s Secret and Bath & Body Works.

Take a long look, kids: The Lord & Taylor flagship is closing.

Credit…Jeenah Moon for The New York Times

Shopping fatigue: Brave holiday wishes from Lord & Taylor.

Credit…Jeenah Moon for The New York Times

Lord & Taylor will soldier on, but its landmark Fifth Avenue flagship, which opened in 1914, will be sold. Hudson’s Bay to WeWork, Hudson’s Bay, which owns Lord & Taylor and Saks Fifth Avenue, announced in October 2017 that the Fifth Avenue building would be sold to WeWork, though the deal has not closed yet. This year’s windows on Fifth, two down from the usual six, will be Lord & Taylor’s last and include a video montage on their history.

At Bendel’s window unveiling (a New York skyline as rendered by Izak Zenou, who has been doing illustrations for the store for 20 years, as well as a collaboration with the artist Shinji Murakami), hot chocolate was flowing, cake truffles were circulating, and executives were showing set-jaw bravery.

Bye-bye, Bendel: Samantha Giombetti and Danielle Rothfeldt in front of Henri Bendel’s last holiday display.

Credit…Jackie Molloy for The New York Times

“We wanted it to feel really special for our customers,” said Jessica Dennis-Capiraso, Bendel’s vice president of marketing and e-commerce, standing in front of a 20-foot Christmas tree made out of 420 of Bendel’s brown-and-white striped gift boxes and hatboxes. “We’ve had such an outpouring from our customers since the announcement that we were closing. People have just been coming in and shopping like crazy.”

Even now, the faint hope of solutions floated in the air. Those striped hatboxes had been eliciting attention on Instagram. Ms. Dennis-Capiraso wondered if Bendel should have been selling hatboxes all along.

“I’m torn between joy and pain,” said Mr. Zenou, who was painting customer portraits for those who spent $400 or more. “It’s like getting divorced from someone you don’t want to get divorced with.”

Credit…Jackie Molloy for The New York Times

Melissa Marrero, a Bendel superfan who, with two days’ notice, had flown in from Orlando, Fla., for the occasion, was waiting to have her portrait painted. How would she manage without her favorite store? “Let’s live in the present,” Ms. Marrero said, fluttering a hand dramatically upward to clutch her chest.

Going for Broke

Department stores, previously known as “dry goods palaces,” began in the middle of the 19th century and the window displays there gained widespread popularity near the end of the century, once plate-glass manufacturing became established in America and made windows much more affordable, said Debra Schmidt Bach, the curator of decorative arts at the New-York Historical Society.

R.H. Macy is said to have originated the holiday window display in 1874. Before L. Frank Baum published “The Wonderful Wizard of Oz” in 1900, he published “Show Window” in 1897, the trade paper of window dressing. (He also founded the National Association of Window Trimmers of America. Pay attention to that man behind the window curtain!)

A "Believe in the Wonder of Giving" window at Macy’s.

Credit…Jeenah Moon for The New York Times

Fine artists have also dabbled in windows. In 1939, Salvador Dalí spooked shoppers with a surreal presentation of a mannequin bathing in a lambskin-lined bathtub and another roasting on a bed of coals. The store tried to take it down, and Dalí broke a window in rage.

Andy Warhol, Robert Rauschenberg and Jasper Johns all worked for Gene Moore, the doyen of 20th-century window display, who oversaw Bonwit Teller for a time and Tiffany & Co. for decades. (Bonwit’s store was razed in 1980 to make way for the site’s new occupant: Trump Tower.) Mr. Moore also occasionally showed his artists’ “serious work” in the windows, though he didn’t much care for it.

By the 1970s, displays were pushing limits as well as products: While Moore designed miniature dioramas that mixed the exquisite and the everyday for Tiffany’s, a younger generation of apostates was on the rise.

Credit…Jeenah Moon for The New York Times

Candy Pratts Price made her mark at Charles Jourdan, then vaulted to Bloomingdale’s, where she designed theatrical displays with, some believed, lashings of sadomasochism.

“We wanted to be provocative,” said Ms. Pratts Price, who would go on to become a fixture at Vogue. “Those days we weren’t into Twitter or Instagram where someone could immediately react. My hope and dream was we would’ve had a mic outside to hear the chatter.”

Planning for Christmas began months in advance. “There were incredible dilemmas,” she said. “I favor holly” — which can be flammable — “and the fire department comes in. We once had a year where in 12 days we had to change Christmas because the fire department threw everything out.”

Provocation continued in the 1980s and 1990s with the arrival at Barneys of Simon Doonan, a holiday imp of the perverse, whose displays might feature Sigmund Freud as soon as Santa Claus, or a nativity scene that made references to Madonna the pop star rather than the biblical virgin. It was removed after protests organized by Catholic activists.

These days, the tone is generally gentler. Mr. Hoey went ashen when this reporter suggested that the black licorice in one of his sweets-themed windows for “Bergdorf Goodies,” as this year’s theme has temporarily rechristened it, may prove controversial. (Black licorice has ardent fans and passionate detractors.)
TCredit…Jackie Molloy for The New York Times

He and a team of assemblers had worked late in the night to mount a display with gingerbread wolves and an allover patina of cinnamon (real cinnamon, for its particular texture); a Viennese-style patisserie window; and the licorice window, with a rearing steed in a dizzying mosaic of licorice twists.

Part of the challenge every year is finding the right materials: The layers of Mr. Hoey’s napoleon cakes are actually plaster, resin and podiatry foam, and much of the licorice is hand-braided polymer clay or caulk. Only three candies are tough enough to withstand the window treatment: jelly beans, a studded gummy called Champagne Bubbles and a heart-shaped SweeTart-like candy.

Going for broke is not necessarily the expected course when fellow stores are going broke. But Darcy Penick, the new president of Bergdorf Goodman, who arrived in September from the online retailer Shopbop, said displays like the holiday windows were exactly where she would prefer to invest.

“At a time when retail ebbs and flows in all directions, I think there is a natural orientation to pull back on things,” Ms. Penick said. “From my perspective, that’s not what drives customer love for your brand. You keep investing in the things that your customers love.”

Even if, as she admitted, the return on a project that extends to sculptural candy towers on the third floor, candy paintings by Ashley Longshore and a pop-up Flour Shop cake shop — selling treats and a candy-stuffed Bergdorf Goodman cake by special order — is not precisely measurable.

The ascendance of online shopping and a growing preference, especially among younger customers, for experiences over items have spelled doom for some department stores but opportunity for others.

Credit…Jeenah Moon for The New York Times

“Retail has actually been healthy,” said Steve Sadove, the former chief executive of Saks Fifth Avenue, who is now a senior adviser to Mastercard. “What you’ve seen is a lot of winners and losers.”

Mastercard’s SpendingPulse, which tracks consumer spending across all payment types in markets around the world, is predicting a 5 percent growth in total retail sales (and a 20 percent growth in e-commerce sales) over last year. Mr. Sadove, who oversaw holiday windows for years at Saks, said such investments are “critical.”

On Monday, Saks shut down Fifth Avenue for a dancing spectacular of Broadway hoofers and a fireworks show, sponsored by Mastercard and benefiting Broadway Cares/Equity Fights AIDS. The theme of its holiday windows is “Theater of Dreams,” its windows filled with preening starlets, usherettes and a poodle in hair curlers. After the show, pedestrians flocked to take it all in. “She looks like Elsa,” said a young “Frozen” fan about a silver-gowned mannequin.

Marc Metrick, the store’s president, emphasized Saks’ commitment to what he called “the new luxury,” which apparently means your favorite stores are also restaurants, lounges and entertainment centers.
Lady in red at Saks.
Credit…Jeenah Moon for The New York Times

Like all of the retailers surveyed, Mr. Metrick would not say how much the windows cost to produce. Holiday displays, though, are typically the single largest visuals expense of the year. “This is where all the eyeballs are going to be,” he said.

Half a mile north and a few blocks east, at Bloomingdale’s, the windows on Lexington Avenue have been given over to a holiday partnership with the Grinch, whose new film is in theaters. Passers-by can have their photos snapped by in-window cameras, which then beam their images into displays, or karaoke their favorite Christmas carols, into microphones jutting out onto the sidewalk.

“We track how many people are taking their photographs and sharing them back out,” said Frank Berman, an executive vice president and the chief marketing officer of Bloomingdale’s. “We also have methods in place to track how many people are passing by the windows, stopping and engaging. We also track the amount of traffic coming into the store and the conversion rates. We’re up in terms of traffic this holiday season.”

Credit…Joe Schildhorn/Bfa
Inside, shoppers can take pictures of one another frolicking in a life-size snow globe, or take a spin around an actual ice rink in the Ralph Lauren section.

For generations of families, locals and tourists alike, such holiday windows were a regular pilgrimage, as much a holiday requisite as the Rockefeller Center Christmas tree. “You had millions of people who were visiting New York,” said Mr. Sadove of his time at Saks. “I’d listen to stories about, ‘My mother or my father took me to see the windows at Saks or at Bergdorf’s.’”

At stores like Macy’s, where snowmen dot the windows alongside Sunny the Snowpal — a plucky snowgirl — and a fox (her best friend), and Santa is seen piloting his sleigh, this tradition continues much as it always has, albeit now with LED screens and interactive games alongside the usual animatronic puppets.

Credit…Jeenah Moon for The New York Times

But at Barneys, Matthew Mazzucca, the creative director, is thinking smaller than he has for bonanzas past like Lady Gaga’s Workshop.

Through a partnership with Save the Children, Barneys has funneled off a portion of its annual window budget for a donation. Themed “Make Change,” windows will feature displays created from thousands of pennies — 40,000 in the Madison Avenue windows of the New York flagship. The display effectively reduced material costs and freed up resources for the donation, while raising, it is hoped, social consciousness during the seasonal shop-a-thon.

Mr. Mazzucca said that the need for constant entertainment and refreshment to drive traffic and sales throughout the year has made him reconsider saving all of his fireworks for December. “I don’t think holiday needs to be the crux of it,” he said. “Every day can be the holiday.”

And at least one younger retailer expressed respect for tradition but also a willingness to flout it.

“I remember my parents bringing me to the big department store windows, where all the toys were animated — it was fantastic,” said Laure Heriard Dubreuil, the founder and chief executive of the Webster, which has stores in Miami, Houston, New York and Costa Mesa, Calif. “So I like the magic of Christmas and all these beautiful windows.”

But for her own New York City department store, which opened on Greene Street in 2017, Ms. Dubreuil rejected the standard holiday trimmings.

“Usually you think holidays, you think snow, you think green and red,” she said. “But we thought glitter and pink. Santa Claus might be a Barbie doll.” In lieu of a traditional holiday display, the Webster’s New York store chose a theme of luxurious escape. Two full floors will be given over to an enormous installation by Chanel, inspired by the enormous cruise ship the brand erected in the Grand Palais in Paris to show the 2019 cruise collection.

As for windows, they are passed over altogether, for one very good reason: The Webster doesn’t have any.


@Instagram has transformed the way we interact, take photos, shop, and read the news. From being able to connect with our favorite celebrities to sharing memes with friends, the app has changed our methods of communication and connection. In honor of Instagram celebrating its 10 year anniversary, revisit some of W’s best-performing Instagram posts over the years, including Brad Pitt from our 2020 Best Performances issue, our 2019 @lilireinhart and @colesprouse cover and Kate Moss baring it all.

Photography: Brad Pitt by Juergen Teller, @lilireinhart and @colesprouse by @stevenkleinstudio@naomi by @stevenkleinstudio@katemossagency by @inezandvinoodh, Adam Driver by Juergen Teller, @iammariaborges by @inezandvinoodh@karllagerfeld@camerondiaz by @mertalas + @macpiggott, George Clooney by @EmmaSummerton with Yayoi Kusama
Styling: @saramoonves@ariannephillips@edward_enninful@amandaharlech@alexwhiteedits

“I want to make music that helps. ’Cause that’s the way that I help. I’m not a doctor, I’m not a lawyer,
I don’t work in the government. I make music.

Fashion Editor: Carlos Nazario. Hair, Shelby Swain; makeup, Alexx Mayo.
Photographed by Hype Williams, Vogue, October 2020
Taffeta dress by Moschino Couture. Sylva & Cie earrings. Rings and bracelets by Chopard and Tiffany & Co. (worn throughout).

Cover Look

Musician Lizzo wears a Valentino dress. Jason of Beverly Hills earrings. Rings and bracelets by Chopard and Tiffany & Co. Manolo Blahnik shoes.
Photographed by Hype Williams, Vogue, October 2020

IN OUR NEW WORLD, where travel is no longer advisable and social distancing mandatory, it has been a bit hard to connect with Lizzo. She has been on vocal rest in her home in Los Angeles, while I’m mostly isolated in my house on the East Coast. When a window of time finally opens, she settles in before the Zoom camera dressed casually, her sweater falling off her shoulders. She looks even more youthful than her 32 years, with her hair in two buns, reminding me of another princess, the fictional Leia from Star Wars. Both women took on the world and won. For Lizzo, this was not necessarily in our national script; for a Black woman it is never a given. But Lizzo’s script is an updated one. As she sings in “Scuse Me”: “I don’t need a crown to know that I’m a queen.”

This is not the first time I have encountered the singer. On my birthday last year, my teenage daughter gave me tickets to her concert at Radio City Music Hall in New York City. She knew I would be ecstatic because every morning, as I pedaled away on my stationary bike, Lizzo’s music filled our home. It had been a long time since I first visited Radio City, on a class trip to see the Rockettes. In my memory, they were a line of leggy white women kicking the air—maybe a woman of color or two was included, but they are not who I remember. This time, the Black woman onstage would leave an imprint.

But when I speak to her in late summer, last year’s gathering at Radio City feels very far away. Though I still do the bike in the morning and Lizzo’s songs still fill our home, we are in the middle of a global pandemic and a new civil rights movement, sparked by a police killing in a city Lizzo lived in not long ago. We are nearing 200,000 deaths from the coronavirus in the U.S., and the deaths continue to mount.

“I’m in a hot spot,” she tells me, referring to Los Angeles, where she’s lived since 2016. “I’ve been in my house every single day. I can count on my hands how many times I’ve actually left. I’m fortunate that I am in that position. I really had guilt about that, early on.” She is acutely aware that the lockdown orders can put people in dangerous situations. “A lot of times, staying home isn’t staying safe. There are so many levels to the butterfly effect of this pandemic—not just the sickness but the emotional and mental effects. That is what keeps me up at night. and that’s what stresses me out.”
“I always thought I needed at least two and a half white boys to make a song. One to engineer and one to produce. But now I can sit in my room and be my own engineer and producer”
What Lizzo has not indicated, at least initially, as one of the stresses of the moment is the killing of George Floyd by Derek Chauvin in Minneapolis, where her musical career ignited and where many of her friends and colleagues remain. Lizzo knows the streets where Chauvin knelt on Floyd as he called out to his deceased mother. She is familiar with the places where the protests occurred. “I saw one of my friends say, you know, ‘Fuckin’ cop just shot another Black man. Let’s all head out,’ ” she tells me. On Instagram, days after the killing, Lizzo wrote: “Protest is not the end of progress, it is the beginning.” She received almost 300,000 likes and 3,000 comments.
Image may contain Clothing Apparel Cape Human and Person
She Can Be Heroes
“I had to travel the world and I had to meet people and read DMs and look into their eyes and really hear their stories, to believe that I was making an impact in a positive way,” says Lizzo. Moschino Couture cape. Sylva & Cie earrings. Bvlgari necklaces. Bracelets and rings by Tiffany & Co. and Chopard. 
Photographed by Hype Williams, Vogue, October 2020

Like all conscious Black people, Lizzo says she has “been brokenhearted by this country” since she was a child. “My dad taught me very early on about what being Black in this country is. When I learned about Emmett Till, I was so young. And I have never forgotten his face.” The formation of Black Lives Matter in 2013, after the acquittal of George Zimmerman for the murder of Trayvon Martin, was a somewhat hopeful moment; BLM demonstrations seemed to signal that change could occur. But then 12-year-old Tamir Rice was murdered, and Lizzo shut down. As she describes it to me now, she was thinking, “They don’t actually care. And ‘they’—I don’t know who ‘they’ are. But I know that they don’t care, because if shit like this is still happening, there has to be a ‘they.’ They don’t care about somebody’s actual life.” The realization in part prompted her to write “My Skin,” which she released in 2015, just after the Jamar Clark shooting in Minneapolis by police officers Mark Ringgenberg and Dustin Schwarze. “I woke up in this,” Lizzo sings. “I woke in my skin. I can’t wash it away, so you can’t take it away—my skin. Brown skin.”

I have been thinking about this song lately because, for me, it speaks to the toll the violence takes against Black people, and because it performs the transformative achievement that Lizzo has come to stand for: The song politicizes, and in a sense weaponizes, self-love, body positivity, and sex positivity. We can’t stop the shooting, we can’t stop the racism, but we don’t have to take part in the hatred of us: “I love you, don’t you forget it, you beautiful Black masterpiece!” Lizzo sings. Here was Lizzo’s first message to Minneapolis and by extension the country: “I’m done with the struggle. I just wanna enjoy my life now and maybe appreciate my skin.” This enjoyment, this recognition, is for her the revolution. It’s in your face. Sometimes it’s a protest. Sometimes it’s just feeling free. But whatever the fuck it is, it’s being alive in our beautiful Black skin.

When I ask her how she’s feeling now, she responds that she is allowing herself to be hopeful. But hope, she admits, is a scary word, “ ’cause I’ve been let down so much, you know.” She’s cautiously optimistic about the corporations that seem to be taking a stand, putting their dollars to work and pledging to hire people of color, but is tempering her positivity with a healthy dose of skepticism: “Mind you, capitalism is problematic in its own way and racist in its own way.” I share this skepticism: Segregationist attitudes still inform everything from redlining policies to gated communities. There is much that keeps Americans separate—even regarding their music, which brings me back to the crowd at Radio City.

When I share with her my initial surprise and delight with the diversity of her audience, she reassures me I am not the only one who feels this way. Early in her career, Lizzo says, she was told by music-industry executives, “You can’t go white to Black. But you can go from Black to white.” Her response: “‘Well, I’m a Black woman. So I can do just about anything I want to do.’ How dare these people sit up and tell me who my music is going to appeal to or not?” In part owing to the music scene in Minneapolis—dominated by indie rock and Prince, rest in peace—Lizzo’s early audiences were predominantly younger, white crowds. In 2015, she opened for Louisville rock band My Morning Jacket. “Lotta white feminists,” she says of her early crowds.

Now Lizzo is the recipient not only of Grammys and Queerty awards but also NAACP Image Awards, Soul Train Music Awards, and BET Awards. “When I go hiking or whatever,” Lizzo tells me, “it’s Black girls being like, ‘I like your music.’ ‘Hey, that’s Lizzo.’” These Black fans confirm for Lizzo what she already knows, that she’s “a Black woman making music from a Black experience”—and that her message can speak to anyone. Suddenly Lizzo’s usual unflappable confidence gives way to genuine disbelief: “I never thought that I would have…I guess you could call it ‘crossover appeal.’” I can’t help but grin back at her.

Image may contain Clothing Apparel Evening Dress Gown Robe Fashion Female Human Person and Woman
Ballot Initiative
“My job isn’t to tell you how to vote. But my job is hopefully to inspire you to vote…to activate you, so that you can take your protest to the ballot box,” says Lizzo, here in a look by Gucci and Chopard earrings.
Photographed by Hype Williams, Vogue, October 2020

WHEN I NEXT SPEAK TO LIZZO, she’s sitting down in her house, looking like a photograph from Carrie Mae Weems’s Kitchen Table series. This day she’s without her Princess Leia buns and instead wearing a shimmery golden bonnet. Out beyond her patio there are pink plastic flamingos by her pool. Tomatoes and zucchini grow in the garden, rosemary and aloe plants too. There’s a giant screen set up so that she can project movies onto it while floating in her pool; she’s just watched Beyoncé’s Black Is King.

At the end of last year, Lizzo moved out of her small, one-bedroom apartment into this home, which has a recording studio. The writing, she says, has been therapeutic. Previously, she jokes, she was under the impression that she needed “at least two and a half white boys to make a song. One to engineer and one to produce. But now I can sit in my room and be my own engineer and producer.” (“She understands the basic constructs of music and the laws and theories that make you feel certain things,” says Lizzo’s longtime collaborator Sophia Eris.) When I ask Lizzo about a new album, she deflects: “Oh, girl, I don’t know. I gotta finish the songs. It’s gonna be good, though. I’ll tell you that. It’s gonna be motherfucking good.” Atlantic Records, with which Lizzo signed in 2016, has nothing to add except that she is currently recording. (A streaming deal with Amazon Studios was announced as this story was closing.)

Despite Lizzo’s celebrity, it’s as if we have known each other a long time, but I know it’s just Lizzo being comfortable with Lizzo that puts me at ease. Eris had warned me about this, that “people feel like they’re best friends with her” very quickly. Marc Jacobs, who dressed Lizzo for the 2019 Met gala, fell in love with the singer through her music. “I knew from the start, from her energy—her smile and the fact that she hugs people,” he says, “I knew that we would be able to do something really great together.” He now counts her as a friend and invited her to his wedding last year.

Lizzo tells me about her childhood, and it’s ordinary in the best ways. Melissa Viviane Jefferson was born in 1988 in Detroit during rush hour. Like her idol Aretha Franklin, she grew up with gospel music in the church. When she was nine, her family moved to Houston, where she took up the flute and joined the marching band. (Lizzo’s now-famous flute is known affectionately as Sasha, after Beyoncé’s alter ego, Sasha Fierce, and resides in a Swarovski-crystal case in her home.)

Houston was also where Lizzo began free-styling, in school and on the school bus. Band music, Destiny’s Child, and rapper Little Flip offered Lizzo her first sense of ownership over music. “Beyoncé had a major impact on me,” she says now, “as an artist, period. She is the definition of work ethic.” Lizzo was also encouraged by Queen Latifah and Missy Elliot; both began as rappers—like Lizzo—and neither fit the mold of other popular female performers. They were, Lizzo explains, “women who looked like me and who were successful in the ways I wanted to be successful. I was like, ‘Okay. I can be confident and look this way.’ You know?”

Image may contain Human Person Tripod Clothing Apparel Shoe and Footwear
Taking Care
“I can count on my hands how many times I’ve actually left the house to do things,” says the singer. Lizzo wears a beaded top and skirt by LaQuan Smith and Sylva & Cie earrings.
Photographed by Hype Williams, Vogue, October 2020

In her senior year of high school, her family moved to Denver, but Lizzo returned to Texas to attend the University of Houston for applied music and joined the Spirit of Houston Marching Band. Halfway through her sophomore year, she left school to put herself through a kind of self-reinvention, setting aside the flute and trying to teach herself to be a singer. She joined a rock band, drank lots of whiskey and Lone Star beer, and lived in her car. (She is quick to note the difference between having to live in your car and choosing to live in your car. Her mother, Shari Johnson-Jefferson, and older siblings, Vanessa Jefferson and Michael Jefferson, were always available to take her in. The family now lives near her in L.A.) It was during this period, when Lizzo was 20, that her father, with whom she was very close, passed away. “I was showering at the gym, ’cause I had no house, when I got the news,” she tells me. “I was in a dark place, and it was a dark thing to happen.” In 2011, she decided to relocate to Minneapolis, which had been building a reputation as a hip-hop mecca since the mid-’90s.

In Minneapolis, at a block party, Lizzo met Eris, who had come to the city from Dayton, Ohio, to study business and the music business in particular; they met up again later that first night, “got drunk, and bonded over karaoke,” as Eris tells it. The women quickly went on to become “like family,” Lizzo says, forming a band called The Chalice along with another Minneapolis musician, who went by Claire de Lune. The group started to gain traction on local radio, and from there the momentum and opportunities snowballed: “We just ran with it,” says Eris. When Lizzo’s solo career started to take off in the mid-2010s and she began touring, she asked Eris to come with her as her DJ. “I was like, Okay, now I need to learn how to DJ,” says Eris.

“Me and Sophia—we really were in the trenches together early on,” Lizzo explains, “me and her in a rental car driving through America, you know, touring at, like, dive bars.” In those early years of her career, Lizzo was mainly performing, as she puts it, “rappety rap rap,” and so it was important to have Eris with her: “She played the music. I don’t know who else would. I couldn’t afford a band.”

Lizzo remembers the day, the moment, when she met her other longtime collaborator, Quinn Wilson. “Me and Sophia walked everywhere back then,” Lizzo tells me. “We were walking down the street. And mind you, we had just gotten into a bar fight the night before, so we was all banged up and shit.” There had been an altercation over a cell phone, and Lizzo had ended up with “a little goose egg from hitting the concrete.” Wilson was pulling her car out of a parking lot but stopped to let Lizzo and Eris pass. “I literally turned to Sophia and I said, ‘We need friends like that in our life,’” Lizzo says, laughing.

Eris ran into Wilson a few days later at a sneaker store and recognized her. The twosome became a threesome, with Wilson doing makeup for their shows. “I pulled some really not-so-good looks for the first couple of times,” Wilson says. “And then I got it together.”

“The three of us,” Lizzo tells me, “have been like sisters. We have gone through so much since meeting each other. And we have always made sure that the relationship is what we prioritize. It’s never been money. It’s never been the career.” Wilson is now the creative director for Lizzo, with a hand in all her projects, committed to, as she puts it, “translating her vision visually.”

ONE GETS THE SENSE that sisterhood is of utmost importance to Lizzo. I mention Missy Elliot’s cameo on the track “Tempo” from her breakthrough Grammy-winning 2019 album, Cuz I Love You, and Lizzo says, with infectious delight, “that was incredible. And to still have a relationship with her—Missy calls me, texts me, and vice versa, just to check on me. And prays for me, and I pray for her. Being little and watching her, and being like, ‘Man, I want to be like that one day.’ Or, ‘I want to work with her one day.’ I don’t know what happened first. Having the thoughts because it was gonna happen? Or having the thoughts and driving myself to make it happen? But knowing that it did, yeah, is incredible.” Lizzo’s music is “empowering, liberating, and fun…with a side order of ratchet sauce,” Missy says. “She shows the world what strength and perseverance look like.”

Image may contain Clothing Apparel Human Person Evening Dress Fashion Gown Robe Female and Sleeve
Work in Progress
“It’s gonna be good, though. I’ll tell you that. It’s gonna be motherfucking good,” says Lizzo about her next album. Lizzo wears a beaded top and skirt by LaQuan Smith and Sylva & Cie earrings. Mia Becar shoes.
Photographed by Hype Williams, Vogue, October 2020

When I ask Lizzo who she is dating, she tells me that her five-times-platinum single “Truth Hurts” from Cuz I Love You is “damn near a profile on a human being minus his name,” but she’s reluctant to say more; “I think it’s important to me as a human being to not disclose everything in my life.” As much as Cuz I Love You is an album about men, though, it is an album about self-love. Often, in fact, Lizzo’s songs don’t have an object of desire besides the self.

What Aretha Franklin did with her release of “Respect” in 1967—during that decade when Malcolm X, Medgar Evers, and Martin Luther King Jr. were all assassinated—is not unlike the personal revolution Lizzo calls for with her work. Aretha’s “Respect” functioned as an intervention at a historical moment, where Black women were historically invisible to everyone except themselves. Lizzo also is committed to “keeping the torch going,” in the same mode as Aretha, she says, “making sure that people understand that self is so important,” especially in the midst of “this right now.”

The “this right now” is the lockdown and the coronavirus but also white supremacy, sexism, homophobia, racism, and fatphobia—though she does not want her message boiled down to one of body positivity. Body positivity, Lizzo tells me, has been appropriated to a certain degree: “It’s commercialized. Now, you look at the hashtag ‘body positive,’ and you see smaller-framed girls, curvier girls. Lotta white girls. And I feel no ways about that, because inclusivity is what my message is always about. I’m glad that this conversation is being included in the mainstream narrative. What I don’t like is how the people that this term was created for are not benefiting from it. Girls with back fat, girls with bellies that hang, girls with thighs that aren’t separated, that overlap. Girls with stretch marks. You know, girls who are in the 18-plus club. They need to be benefiting from…the mainstream effect of body positivity now. But with everything that goes mainstream, it gets changed. It gets—you know, it gets made acceptable.” When I ask Jacobs about this, he speaks carefully: “I think what is so inspiring is the way she delivers the message,” says Jacobs. “Her positivity—putting the word body before it is just another part of her positivity, and that’s what’s really contagious.”

“I think it’s lazy for me to just say I’m body positive at this point,” Lizzo says. “It’s easy. I would like to be body-normative. I want to normalize my body. And not just be like, ‘Ooh, look at this cool movement. Being fat is body positive.’ No, being fat is normal. I think now, I owe it to the people who started this to not just stop here. We have to make people uncomfortable again, so that we can continue to change. Change is always uncomfortable, right?”

Malcolm X famously said, “The most disrespected person in America is the Black woman. The most unprotected person in American is the Black woman. The most neglected person in America is the Black woman.” He meant thin or fat, tall or short, big or small, citizen or undocumented, senator or vice president—and so I have one last question for Lizzo regarding how she feels about our Democratic vice-presidential nominee, Kamala Harris. I am thinking about the avalanche of disrespect Harris will have to negotiate as a woman and as a woman of color.

“Having a Black woman as vice president would be great,” Lizzo says, “because I’m just always rooting for Black people. But I want actual change to happen…in the laws. And not just on the outside, you know? Not a temporary fix to a deep-rooted, systemic issue. A lot of times I feel like we get distracted by the veneer of things. If things appear to be better, but they’re not actually better, we lose our sense of protest.” She makes sure to mention Breonna Taylor and Sandra Bland and all the women who, inadvertently or not, often get dropped from the conversation: “We need to talk about the women.”

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Forward Momentum
“We have to make people uncomfortable again, so that we can continue to change. Change is always uncomfortable, right?”
Photographed by Hype Williams, Vogue, October 2020

For Lizzo, the American public is in an in-between time. The present protests are a conversation with a possible future, and she sees herself as having a part in making it happen: “I just want to encourage people to register to vote. That is the most important thing to me. Because there’s a lot of upset people, and there’s a lot of people who have power. There’s a lot of voter suppression in Black communities. But there’s a lot of angry white kids now. And I’m like, ‘Yo, register to vote. Go out. You won’t get suppressed if you try to go to your ballot box.’ You know? I think it’s important to remind people of what they can do. My job isn’t to tell you how to vote. But my job is hopefully to inspire you to vote…to activate you, so that you can take your protest to the ballot box.”

But first, she knows that in order to save and serve the culture, she has to save and serve herself. “I think it’s important that I take full responsibility for the way the world perceives me because that is the way they’re gonna perceive someone who looks like me in the future. Maybe, hopefully, that would give some young girl someone to look up to and take away the opportunity for someone to weaponize her uniqueness against her. I had to travel the world and I had to meet people and read DMs and look into their eyes and really hear their stories to believe that I was making an impact in a positive way. And now that I believe in myself in that way, I’m gonna continue to just push that conversation by being a better me every single day.”

GP_The Reconstruction_Finn Love as The Firestarter
Finn Love as The Firestarter, The Reconstruction© Nick Knight


As Gareth Pugh launches a new project over London Fashion Week, Hannah Tindle talks to the designer about his latest project and how fashion is responding to the times in which we live

This article is published as part of a series of Designer Interviews, where we’re speaking to some of the industry’s most crucial voices about this current – and highly unique – moment in fashion history.


Gareth Pugh has always been known for ruffling feathers and pushing buttons. Ever since he burst onto the London stage in 2004 – a graduate of Central Saint Martins’ star-making MA course – with surreal, club kid-inspired designs, it was clear that he was a natural leader of fashion’s avant garde.

Over a decade on, Pugh remains an iconoclast. After taking a break from London Fashion Week for a couple of seasons, he has returned for Spring/Summer 2021 with a new collection in the form of a non-profit visual concept album. Titled The Reconstruction, the project comprises 13 stills and short films shot by Nick Knight and Jon Emmony (starring an ensemble cast including the likes of Rina Sawayama, Matthew Ball, and Sakeema Crook), a feature-length documentary that goes behind the scenes of making the work, and an exhibition of the collection showing at Christie’s. The project is raising money for Refuge, which helps women and children affected by domestic violence.
We owed it to ourselves and to fashion in general to be part of a conversation that feels a little bit sad at the moment,” says Pugh. “London Fashion Week feels like it could come and go without much fanfare. So it requires people to do things bigger and better than we’ve ever done before. People need something that they can be hopeful about right now.” Here, as part of AnOther’s Designer Interviews series, we have a frank conversation with Pugh about the way that fashion has been reacting to the current climate – and the uncertainty of its future.

Hannah Tindle: For S/S18 you screened a film at the BFI in lieu of a runway show. In light of the current season, does it feel like you had the gift of foresight?

Gareth Pugh: Actually, we started doing things off the runway almost a decade ago in 2009 with a film we produced with Ruth Hogben. I was showing in Paris at the time, and you’re only ever listed on the main schedule if you have a physical presentation and I had to tell a lot of white lies to the Chambre Syndicale. But Didier Grombach was the president of the organisation at the time, and he was obviously quite a trailblazer in his time, introducing a new way of working to the Paris schedule early on with the likes of Claude MontanaTheirry Mugler, and Rei Kawakubo. Luckily, he came to the presentation and left with a smile on his face. We also showed a film with Kristen McMenamy for S/S11. But it’s amazing how much push back from a lot of others we got from doing this at the time. And now, in 2020, everyone’s like ‘let’s make a film!’

HT: It’s the ‘new normal’ this season. How do you think that’s going to work out for everyone? 

GP: I think it’s difficult for some designers. For example, if your clothes don’t lend themselves to film that well, it might be a difficult thing to work around. We’re lucky enough that our clothes work very well on screen and with moving imagery. Fashion films are obviously something that we like to harness to tell a story. I often equate a live fashion show with a tennis match; a lot of back and forth. It’s quite formulaic. With a fashion film, you can portray something bigger than the clothes. It’s much more democratic, too – more people are able to see it.

HT: The behind-the-scenes documentary produced as part of The Reconstruction offers a real window into your process. What was your thinking behind making this? 

GP: What we wanted to do was to create a film that documented us getting our hands dirty at the studio, mixed with high-fashion moments created by Nick Knight and Jon Emmony. It’s a little bit like pulling back the curtain on the Wizard of Oz, I guess, inviting people to see what really goes on. It’s quite exposing, but we’re comfortable with that. This film runs alongside the stills by Nick in the exhibition at Christie’s right in the middle of the room. I like the idea of referencing the gritty making process within such a ‘hallowed’ art space.

HT: What were other conversations that you had during the making of The Reconstruction

GP: In February, Nick Knight asked me to do a screening of Cabaret at SHOWstudio, which is one of my favourite films. That evening, I asked Nick if we would maybe talk about doing something together for the next fashion week. It was time for me to return to the schedule, after securing my trademark back from Rick Owens and my Italian partners. Not that I was held back much before, but this was going to be the first time in ten years that I was going to have complete freedom.

HT: And then lockdown hit … 

GP: Yes and we had to close everything down, including our studio, and I was suddenly stuck in my small London flat. This really highlighted to me how much I love the studio and making with my hands. Also, seeing how other people in fashion were reacting to what was going on around us, it all felt a little bit sad. I just thought, we, as in fashion as a whole, can do better than that. Designers are an adaptable bunch, and what the world needs right now in particular is creative problem solvers.

HT: At the beginning of the documentary, you have included a clip of Nina Simone saying her famous quote: “It’s an artist’s duty to reflect the times in which we live.” How do you think fashion can reflect the times we live authentically and honestly? 

GP: Fashion exists within this strange space. It exists within a space where people understand it in a way that they can’t necessarily do with an artist’s work because it’s wearable. There’s a relatability to it. I think fashion is one of those mediums that can very quickly and very succinctly connect to the times in which we live. Although it can be slow at changing its actual bureaucratic structure, the creative content can. We should be able to move with the times in a very nimble way.

HT: Do you hope to see up-and-coming designers respond to the changing times by engaging with more experimental show formats?

GP: Yes, definitely. Putting on a show costs a huge amount of money and effort when perhaps they don’t have that at their disposal, and often young designers are doing something that is dancing to the beat of somebody else’s drum. But right now, there are no rules in a way, and there are no right and wrong answers to how you show your work. I’m sure that this is a nightmare for those responsible for the long-held structures in place, but it’s a great time for designers to take back control. Often people haven’t had space to even change how they want to communicate their work. The fashion show is a set structure and everyone knows how it rolls. But that’s been taken away, which is really exciting for the new guard.

HT: The worry is that everything will just return to the way it was as soon as it can. What are your thoughts on this? 

GP: There’s much talk of change and it’s a concern that people are just saying what everyone wants to hear right now. But, I was speaking to Nick about this and he really does get a sense that it isn’t just chat and that people are quite invested in it. Giorgio Armani wrote an amazing open letter in April that reflected this. With an Italian designer with a huge commercial hold in the industry to say things need to change and calling people of his stature to follow suit, I am hopeful. We’re glad to be part of that conversation, too, but there’s so much left for us to do.

HT: So what does the future hold for you and the Gareth Pugh studio?

GP: Fashion is always my first love, but we’re thinking of taking a bit of a sidestep from it. The reason why we stepped away from fashion in the first place is that we wanted to stretch our legs creatively. It also feels reckless at the moment to work so commercially, when retail and fashion production is on its knees. Which is why all the proceeds from The Reconstruction are going to Refuge. In regards to what next? Who knows. We don’t have a plan.

Key looks from the collection have been re-imagined in a series of T-shirts designed by Pugh in collaboration with emerging designer Melissa Mehrtens. Sold in exclusive partnership with HIT + RUN, with all proceeds going to Refuge UK, these T-shirts are available to shop here

Marc Jacobs fall 2020 Photo: Corey Tenold

“This is an unprecedented Fashion Week. In the history of New York Fashion Week there has never been one like it,” declared Steven Kolb, the CFDA’s CEO, on a Zoom call. Indeed, in February there were 177 labels on Vogue Runway’s NYFW review calendar. The schedule the CFDA released today, which begins with Jason Wu at 5 p.m. on Sunday, September 13, and ends with Tom Ford at 7 p.m. on Wednesday, September 16, includes just 60. With only a handful of IRL exceptions, all of the presentations on the CFDA’s official lineup will be digital.

Michael Kors Collection fall 2020
Michael Kors Collection, fall 2020 Photo: Filippo Fior / 

Proenza Schouler fall 2020
Proenza Schouler, fall 2020 Photo: Filippo Fior / 

Brandon Maxwell fall 2020
Brandon Maxwell, fall 2020 Photo: Filippo Fior / 

Among those not on the calendar: Michael Kors, who has announced an October date, Tory BurchProenza SchoulerBrandon Maxwell, and Prabal Gurung. In an email Gurung explained his thinking: “Since the pandemic forced us into lockdown, I’ve been talking to designers, retailers, suppliers, and factories all over the world. Everyone in the industry was running around playing catch up, with no actual goal in sight…. Whatever we put out there has to have a reason for its existence; pretty clothes are no longer enough. We need to really think about purpose and a mission.” He’s one of the designers looking at a later date in order to bring his presentation “closer to the time that shoppers will want to wear the pieces” he’s showing.

Familiar names that are returning to the CFDA calendar include MarchesaCarolina HerreraZero + Maria Cornejo, and Anna SuiEckhaus Latta slipped into the time slot left open by Marc Jacobs’s absence. In addition, there’s a menswear showcase and a time slot for Harlem’s Fashion Row and the BIPOC designers its founder Brandice Daniel is supporting. The biggest surprise: Imitation of Christ, whose last NYFW appearance came in spring 2013. Rather ironically, given where we are now, IOC’s designer Tara Subkoff dubbed that collection “This Is Not a Fashion Show.”

Imitation of Christ fall 2020 couture
Imitation of Christ, fall 2020 couture Photo: Courtesy of Imitation of Christ

At this point, Kolb and his colleagues know little about the type of digital content that will be living on the CFDA’s site, Runway360. “We connected people to content creators when they asked for intros,” he explained. “But at the end of the day the success of this for us isn’t who made an Academy Award winning film or who did the most innovative photo shoot. The barometer of success for us is: Were you able to see the clothes, able to write about them intelligently, and able to understand what is marketable to sell to your customers?”

A key difference between the CFDA and its Runway360 site and IMG and its site: The former is B2B and the latter is more B2C, with a schedule of livestreamed talks and IRL experiences that could include, say, an in-season shopping activation for a fall 2020 collection. That’s another difference: While Runway360 is a strictly digital platform, IMG has come up with a hybrid model, mixing in-person events with virtual ones made on the premises in its content hub. Jason Wu’s week-opening show at Spring Studios will take place on a runway with real models and a live audience. Earlier this week Governor Andrew Cuomo gave fashion shows his blessing; in a statement he said: “When COVID-19 hit New York, so many of our cherished events were forced to cancel or be postponed. The pandemic is far from over, but we’re proud to support IMG in moving forward with NYFW, in adherence with strict state public health guidance.”

Those precautions notwithstanding, the vast majority of the Fashion Week goings-on will be digital. On the CFDA’s calendar, designers and brands are scheduled on the half hour. In the end that may be the greatest virtue of a virtual Fashion Week. No traffic jams, no model delays, no waiting around endlessly for the front row to fill up. All efficiency. Just log on and click play. Of course, there are sure to be more off-calendar events and even more social media goings-on. Big picture, the pandemic has done to Fashion Week what it’s done to everything from office work to our social lives; it’s untethered it from place. The official calendars aside, the internet is a wide open space. Who knows who will chime in on the Fashion Week conversation? Or what they’ll have to say? That’s exciting.




We’ll be updating as they’re rolled out.
Vogue Uk Sept 2020 cover

Photo: Courtesy of Condé Nast/Misan Harriman

It’s that time of year again, everyone: September issue season is upon us, and magazines are bringing their A-game with statement-making covers and editorials. Some of the issues even weigh more than a pound (sorry, USPS) and exceed hundreds of pages.

We’re rounding up the fall fashion covers as they become public, so be sure to check back as we update this post with the new releases.

If your plan is to work from home for the foreseeable future, the advent of fall might not bring any major changes. You’ll likely still be plugging away from your home office — be it your kitchen island or your couch — but come September, you’ll probably have a busier schedule of back-to-back Zoom calls.
Since we know that video conferencing isn’t going anywhere after Labor Day, the most functional use of your pre-fall-shopping budget is to grab some new hair accessories. Not only are they more affordable than anything that hangs in your closet, they’re also much more practical: your silk scarf can be worn as a trendy bandana and double as a face covering, while the tortoiseshell claw clip you store next to your laptop can take your post-yoga hair from sweaty to polished chignon in 5 seconds flat. For a full gallery of inspiration of simple and chic hairstyles to refresh your fall style, scroll ahead.
1 OF 5

Silk Bandana

What’s great about a printed silk scarf is its versatility — especially right now. You can wear it to pull your hair out of your face for a work call — like influencer Claire Most — then fashion it as a face covering for your trip to Trader Joe’s.

2 OF 5

Accent Braids

Celebrity hairstylist Justine Marjan predicted accent braids in the early age of Zoom conferencing. “I’ve been loving the placement of two braids right at the front hairline,” she tells us. “Not only do they feel a little retro in inspiration, but they create a trim around the face.” To finish, you can secure your two accent braids with a gummy elastic, curl or tease the ends to keep them from unraveling, or leave them loose and carefree like model Chloe Christian’s.

3 OF 5

Printed Headband

DJ and author Hannah Bronfman is inspiring us to find an Oxford button-down ASAP, and style it with a gold chain-link necklace and printed headband.

4 OF 5

’90s Pigtails

We’ve seen pigtails and high buns take off lately, with celebs like Jennifer Lopez and Taylor Swift wearing similar iterations on the playful style. We’re especially into this cool half-up half-down look on model Cheyenne Maya-Carty.

5 OF 5

Claw Clip

Claw clips have been trending this summer, and will only continue to rise into the fall. Why? Because the comb holds your hair up and out of your face better than a scrunchie — and looks super, super chic. Summer Fridays founder Marianna Hewitt‘s breezy half-updo is proof.

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