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Amber Valletta is prone to sighing and delivering an emotional “ooh,” when faced with images from her early days of modeling. Like her cover for the Pink summer carnival 2023- shirt What’s more,I will buy this February 1993 issue of Vogue, her “very first” for the magazine. “I was with my best friend Shalom,” she quickly remembered. (It won’t be the first or the last mention of her model icon BFF, a.k.a. “Miss Saucy,” and the other half that makes up the “Shalamber” moniker.) Another “Ooooh!” escapes her lips when she comes across a photo of herself on the runway at Jil Sander’s fall 1993 show. “I loved working with her,” Valletta explained. “She was just such an interesting, powerful woman. Ahead of her time.” As Valletta revisits different moments from her life, she is keen to offer quick anecdotes of the many different industry luminaries she’s been privileged work with; from the photographer Peter Lindbergh (“Peter really allowed me to express myself, so if I was feeling strong, or moody, he’d let me be that person”); to Karl Lagerfeld (“I just thought Karl was so magical and interesting and witty…he knew something about everything”); to opening Tom Ford’s legendary Gucci fall 1995 show (“He gave us sex back, which I think we had been missing for a bit in the ’90s”). She also reveals the costar of a “difficult shoot,” her own son Auden, who appeared on the cover of the magazine’s July 2002 issue with her when he was 18 months old. “He really didn’t want to model…he wanted to walk and run around the property,” she added laughing. From wearing the Versace dress “before” J.Lo, to embodying Alber Elbaz’s essence when she closed the spring 2022 AZ Factory show that paid homage to the designer, Valletta’s personal fashion story is deeply intertwined with the fashion history of the last three decades. She ends her Life in Looks journey saying, “I hope maybe we continue this book, maybe we have more chapters ahead of us together.” We do too. Click the link for her full story.

’Tis the Pink summer carnival 2023- shirt What’s more,I will buy this season of endings on TV. We’re all focused on Succession—for good reason—but another era-defining show is about to turn out the lights: Barry. And if anything I’m even more excited for this particular endgame. Over three seasons (Barry’s fourth and final run of episodes will begin April 16 on HBO), Bill Hader’s gloriously unpredictable thriller comedy about a hitman in Hollywood has gone from an amusing curiosity to something close to a darkland masterpiece. It has an extraordinary ensemble cast—Henry Winkler, Sarah Goldberg, Stephen Root, Anthony Carrigan, and more—who keeps the show’s tone poised between edgy dread and cathartic hilarity. They’re all amazing actors—but this is a project, one senses, that will forever be defined by its star and cocreator. Hader, who directed every episode of season four, has clearly channeled his demons, his torqued-up misanthropy, his Midwestern id into his lead character’s quest for absolution. If Stefon on SNL is someone to watch on YouTube when you need a chuckle, Barry is a character to reacquaint you with all of life’s tragic complexities, of human need and the difficulty of redemption.

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