ART Jordan Casteel Whether perched pensively atop a skateboard or on a folding chair next to a stand of glass- ware, the subjects of Jordan Casteel’s paintings feel preternaturally present. They are almost always black men, and their intimate imme- diacy belies the fact that Casteel, 29, has often just met them while walking through New York, where she lives. She introduces herself, asks them to pose, and takes as many as a hundred photos, which she whittles down to a handful to use as she works. The resulting paintings, as seen most recently in “Nights in Harlem,” her 2017 show at Casey Kaplan gallery, combine Alice Neel’s psychological acuity with August Sander’s sharp eye for quotidian detail. Having garnered attention for exhibitions at the Studio Museum in Harlem and Mass MoCA, the Yale- trained artist is set to have her first museum survey, in February 2019, in her hometown, at the Denver Art Museum. Though her paint- ings are about real people and real life, they are never mere transpositions. The skin of her models sometimes glows green, lavender, or orange, as if bathed in neon—the result of “trying to push the envelope of what it is we think about in terms of a person of color and the range of hues that create one’s skin tone,” Casteel says. andrew russeth Left: Jordan Casteel, wearing a Marni dress and Agmes necklace, in her New York studio with Lavender Embrace, 2018.

MUSIC Charlotte Cardin Charlotte Cardin was a rising model in 2013 when she competed on La Voix, the French-Canadian answer to The Voice, and wound up placing in the Top Four. “That was the moment when I was like, ‘Maybe I can do this for a living,’ ” says the Montreal-based singer, 23. In 2016, the soulful crooner released her first EP, Big Boy, earning her more than 15 million streams on Spotify and critical raves for her genre-defying melodies and sultry songs cen- tered around love. “I’ve always been inspired by relationships in general,” Cardin says, “so most of my songs talk about romance.” Cardin landed FASHION a contract with Atlantic Lou Dallas Records last year, and she recently embarked Shortly after she on her first solo U.S. tour. wrapped up her stud- Stay tuned for her debut ies as a painter at the album this fall. g.s. Rhode Island School of Design, Raffaella Hanley, Right: Charlotte Cardin, wearing 29, helped fellow alums a Dior dress and Tiffany & Co. Mike Eckhaus and Zoe bracelet. OF CARDIN:WEARS THEAND STYLED KAPLAN,HERCOURTESY GLASSES. ARTIST CASEY CASTEEL OWN NEW YORK; Latta hand-sew what would become their first collection. Eckhaus Latta’s success paved the way for the art-house fashion label Lou Dallas, which Hanley launched a year later, in 2013. Hanley custom-sews recycled and deadstock materials, and dyes each EMBRACE, LAVENDER garment by hand. The offerings are purportedly gender neutral, though unabashed in their embrace of conventional femininity: Her latest collection featured a cotton blanket she’d transformed into a pair of embroidered and sequined pants, babydoll dresses with poufy sleeves, and ballet shoes hand-painted by the artist Will Sheldon. With its fashion-meets-art sensibility and emphasis on sustainability, Lou Dallas is already gaining a cult following. “I’d like to repurpose as much as possible,” Hanley says. “I feel bad buying a lot of stuff these days.” s.e. Above, from left: Raffaella Hanley and friend Esther Sibiude, both wearing Lou Dallas, in the Brooklyn

painting studio used by Hanley’s father. TIM HAIR AND MAKEUP ELLENGABRIELLA DE STYLED GIVENCHY; BY BY GUHIN ASSISTANT: CASTEEL: PHOTOGRAPHY FOR BUMBLE AND BUMBLE SEE AND MANAGEMENT; NARS COSMETICS AT DIAMOND BUCHANAN; ASSISTANT: FASHION O’CONNELL; CAROLINE STYLED BY DALLAS: TIM LOU O’CONNELL. ASSISTANT: PHOTOGRAPHY NORA HAIR MILCH; BY AND MAKEUP FOR ORIBE MIA SEE SANTIAGO ANDBY MANAGEMENT; NARS COSMETICS AT TIM O’CONNELL MAKEUP ELLENASSISTANT: HAIRALLIE BRIDGEPHOTOGRAPHY BY BY GROSSO; GUHINSMITH ARTISTS; FOR BUMBLEFOR CHANEL SEE MANAGEMENT; AND AT BUMBLE AT