#may be my own takeaway. but i do think there's enough evidence to support it

[iwritenarrativesandstuff]

On Kurapika's Self-Imposed Isolation

While I recognize that probably everything I'm about to say is going to be super obvious, I just wanted to briefly touch on Kurapika's self-isolation, and the reason behind his not picking up his phone or exchanging anything more than clipped words and business after Yorknew.

I think the obvious answer is that Kurapika doesn't want his friends in harms way, or to be used as a bargaining tool against him. This is an understandable and probably accurate conclusion. After all, Gon and Killua did get taken hostage, and Kurapika was forced to negotiate an exchange. Chrollo picked up on Kurapika's "weakness" right away - that he values his friends' safety before his revenge. Fortunately for Kurapika in this situation, Pakunoda was a whole lot more similar to him than he would've cared to admit, as she placed a value on Chrollo's life even though everyone in the Spider was intended to be replaceable. So, now that he's been through Gon and Killua having potentially gotten killed or seriously hurt, and Chrollo knows that he has a soft spot for them, it does make sense that he would try to push them away for their safety and for the sake of not having an exploitable "weakness" in future. He may also not want to burden them more when they have their own lives to live - he does slip off without telling Gon and Killua for the sake of not distracting them from Nen training, after all.

Except that he already tried all this earlier in Yorknew arc. He tried to tell them they shouldn't get involved, and they all agreed that the risks were massive - but his friends agreed to undergo the risks anyways to help him. Kurapika was even grateful for it - "I have been blessed with good friends."

So, for him to push them away solely for this reason after the fact, knowing that this was very much a likely situation to happen, is a little odd to me. Kurapika knows full well that Leorio would be frustrated, Killua would be offended and Gon would worry. So, I think there's a little more to it than that, and I actually would venture to say that "keeping his friends out of danger" is more a secondary reason for his actions - one that would come across as more of a reasonable excuse to others.

The primary reason is likely a lot more selfish than that. Kurapika has to ensure his mission comes first. And unfortunately, he is fully aware that his path and choice in abilities is deeply self-destructive.

Kurapika needs to make sure that he doesn't have exploitable weaknesses, sure, but he also just as much needs to purposefully worsen his headspace - and he can't do that with those three around.

Think back, what are the happiest moments we see from Kurapika in the series? The one that comes to mind first, and the one I'm sure most of us will think of immediately, is this:

[ID: A screenshot from the 2011 anime adaptation. Kurapika smiles - he looks at ease. End ID.]

It's one of the sweetest scenes of the series imo, right before the whole group is reunited for the first time since the Zoldyck Family arc, and it's even more notable because it comes immediately on the tail end of this...

[ID: Three panels from HxH Chapter 101. Kurapika removes his contacts over the sink. His expression is distant. End ID.]

...and this...

[ID: A panel from HxH Chapter 101. A close up of Kurapika's vacant and furious expression, his eyes wide and dangerous as he says "It might as well be you." Though the art is in black and white, it's apparent his eyes have gone scarlet. End ID.]

...and this.

[ID: A panel from HxH Chapter 101. A distant Kurapika speaks on the phone on a rooftop at night, the cityscape of Yorknew around him dark, but speckled with lights and stars. He says "The Spiders are dead." His face is not visible to the reader. End ID.]

This is, up to this point in the series, Kurapika at his lowest. In contrast to Gon, who is happy to hear that the Spiders are dead already because now Kurapika can focus solely on finding his peoples' eyes, Kurapika... is clearly not happy - and that's because killing the Spiders himself isn't just revenge. It's penance. It's survivor's guilt. Kurapika's powers, which Izunavi even comments sound much like he is chaining himself in the process of chaining his enemies, are oh-so-beautifully prophecied to destroy him - and Kurapika was aware of this from the moment he set off down this path of revenge.

(As a side note, this is why I'm really hoping we see Gon and Kurapika interact again after the Chimera Ant arc - while Gon has always been pretty attentive to Kurapika's emotional state, in Yorknew, he lacks a true understanding of why Kurapika would go so far... but as of now, he understands rage fueled by guilt and grief all too well. I know we're all rooting for Leorio to reach Kurapika, but barring that, I really think Gon could get through to him - after all, they are similar in several ways, and I find it fairly apparent that Gon reminds Kurapika of Pairo.)

But back to the main point here - I do suspect Kurapika expects (if not wants) his revenge mission to destroy him. I think a lot of times, we forget just how young Kurapika is, and how much his character is dictated by honour, and the abandonment of it.

Certainly, he can and will go against his principles for the sake of his mission... yet, almost paradoxically, he's bound to his promise to his fallen clan; a promise to avenge them made in anger.

But Kurapika... doesn't come across as a naturally angry person to me at all.

He seems like the stoic, vengeful type on his initial introduction... and then we get his panic at Gon's recklessness

[ID: A panel from HxH Chapter 2. Kurapika and Leorio wear matching expressions of panic in front of Gon, calling him out for his recklessness. End ID.]

...and his near-immediate forgiveness of Leorio after getting the first inkling of his character - of someone who cares just as fiercely as he does.

And after that point? Almost all through the Hunter Exam? Kurapika smiles so readily at them. He's sharp and funny. He mediates at times, but is stubbornly prideful in others. He's very amused by his friends' antics, and it really does seem like he starts to enjoy himself, with them. And, more than that, he counters Leorio's initial impression of him as an independent loner - on several occasions. He decides to follow Gon because Gon intrigues him. Asides from Gon, it is Kurapika who is the most unwilling to fight each other at the bottom of Trick Tower. Kurapika who makes the first move to team up with Leorio, even though that arrangement benefits Leorio much more than it does him. Kurapika who refuses to abandon Leorio to his fate in the cave, and who checks on Gon after noticing his bad mood. Who was furious enough watching him get beat down by Hanzo that his eyes went scarlet for the first and only instance outside of Spider mentions and Emperor Time. Who quite readily detoured to help rescue Killua.

[ID: Three screenshots from the 2011 adaptation Hunter Exam arc. In the first, Kurapika smiles at a sleeping Leorio. In the second, Kurapika stifles laughter as he pretends he's asleep. In the third, Kurapika has an open-mouthed smile as he acquires the airship tickets for them, Leorio and Gon standing behind him. End ID.]

Look at him! He's so bright! So happy!

...too happy. Too happy to do what he promised himself he would do. And that's his biggest fear, isn't it. Without his rage... what is he left with?

[ID: A panel from HxH chapter 2. A close up of Kurapika's eye as he says "I do not fear death. What I fear is that my rage will one day fade away." End ID.]

Kurapika is far, far less mired in anger when he's with his friends. I actually dare to say that at certain points, he was able to go for lengths of time without thinking much about it - alternating between almost forgetting in one instance and being hit like a sledgehammer on exposure to a reminder in the next. This violent swing is... actually the beginnings of the natural process of healing from loss and trauma. But to Kurapika, who's made a promise to his people's memories, this is not a relief. This is betrayal.

I think that actually scares him, that he can almost picture it. A life beyond his guilt. That he, too, could learn to be happy, even after unimaginable loss.

And so, as Kurapika continues his mission offscreen, finding more and more gruesome reminders of the cruelty inflicted on his people and losing more and more pieces of himself in the process (in his own words, no less), he prioritizes his responsibility to them, and pushes away his distractions. He cannot be a soul at peace until his work is done; he must be in turmoil. He pushes people away who he cares for, and binds himself, and keeps his people's eyes on him, quite literally, because respite, for him, is unacceptable. Perhaps that guilty part of him even hopes, by the end of this, that his soul will be so unrecognizable as to be fundamentally unsalvageable. But the truth of the matter is, or at least what comes across to me, is that Kurapika cares much more fiercely than he hates. He knows what matters most. And for as long as he does, he still hasn't truly lost himself.

[ID: A panel from HxH chapter 350. Kurapika looks down at baby Woble with a gentle, yet complicated expression. The inking is somewhat softer. End ID.]

Kurapika's soul is kind, really. And it wants to heal - but for the sake of his mission, he needs it damaged and bleeding. And so, he forces himself to exist in that pain. All alone.

[ID: A panel from HxH Chapter 344. Kurapika, dressed in a black suit, sits with his back to the reader, looking down at a photo in his hand. He is slumped a little before the church vigil he has prepared, all his clan's eyes lined up in their jars and honoured with flowers and candles. He thinks to himself "There is no home for me to return to... and nobody to welcome me back. I have nothing left." End ID.]

[applestorms]

Okay two things in response to this one:

Here's my evidence for thinking that Jake is more intentional in his manipulations than may initially be obvious. (Note "manipulation" might be a strong term, but I still think it's accurate here.)

Jake is clued in on Jane's crush on him fairly explicitly twice (2) by Roxy before he actually has the friendzone conversation, once way earlier & once immediately before. Here's the quotes:

TG: its one of those things jane likes about u so much GT: It is? TG: which TG: errrrrrrrrrrrrrrrr im not supposed to talk about 2 u evr so nm GT: Talk about what? TG: nope GT: You mean how um... GT: Well a way in which i suppose... TG: no nope GT: Jane is prone to looking upon me with what i fathom to be more than just friendly affection? TG: nope nope nope nope nope nope TG: hey look who didnt say nothin about that why it is this silly fuckin drunk girl over here GT: Its a tricky issue. And you know i adore jane and please dont think i havent given some thought to... GT: Well that angle on our relationship i guess. TG: ooof jake jake no please TG: this is a conversation that cant happen cause i started it and i blew it by saying stuff so u have to foroget it TG: * 4get it GT: Oh. Yeah i can see the dilemma this causes for your friendship with her. GT: Ill drop it. TG: whew

(A6A1:4226)

GT: Should i expect a serious exchange about feelings and whatnot? TG: depenbs on the present magnitude of her tightassery TG: someone needs 2 move you fuckers along an get some stuff out in the popen already GT: Wait would this be about certain unrequited pinings you may have alluded to earlier? TG: i didint say nothin and aint sayin anything to that effeft GT: Indubitably. Miss zipper lips was it? Humorously misspelled of course. TG: mmmmm! TG: *zuip* GT: I guess i cant help but wonder if that truly is the way she sees me or if it is just some wild ego stroking delusion on my part.

(A6A2:4586)

There are a few takeaways from these conversations: 1. Jake totally does that thing where he seems to share his own observation but only after someone else mentions something that could support it (straight up saying Jane likes him when Roxy accidentally alludes to it), 2. Jake is not only intimately aware of the fact that Jane likes him as told to him by Roxy, he is socially aware enough to pick up on the fact that Roxy wasn't supposed to tell him and drop it (the "Miss zipper lips" a reference to "MISS ZUIPPERPIPS" from the first conversation), 3. "unrequited pinings".

What's really interesting to me though is the line he has immediately after the quote I posted above, in the second conversation:

GT: I always get this sense that people sorta fancy me but who knows i could be just miles off the old rocker about that! GT: Youre right i think its high time we cleared the air on some things even if there is a chance it gets all awkward and prickly. GT: That is what being brave and adventurous is all about after all. It isnt just about summoning the courage to pilfer some priceless loot from trap laden catacomb. Or shooting at stuff with two guns at once.

I read this as Jake doing a bit of a 180 in order to set himself up for the next conversation. Jake is clearly aware of the fact that Jane likes him (& from the conversation w/ Jane, he's aware of Dirk too), and in fact he is the one to explicitly state it where Roxy just accidentally implies it. He's also very aware of the fact that Roxy wasn't supposed to say anything, presumably more evidence of that crush's strength since why else would Roxy be so awkward about the fact that she isn't supposed to talk about it? The fact that he's playing into the "brave and adventurous" jock figure that he loves so dearly (as a way of avoiding responsibility by faking more ignorance) as well really adds to this imo. I don't want to fully deny the fact that Jake might be insecure about thinking all his friends have crushes on him, but again this information is coming from/being supported by Roxy, so he has that much more reason to trust it.

What's really important to me, though, is that one fucking word: "unrequited". Jake is not only aware of the fact that Jane likes him, he has "given some thought to [it]," and come to the conclusion that it unfortunately just isn't mutual. But that's also an unacceptable conclusion to him, because it means that not only is he creating conflict by liking one friend and not another, he's hurting Jane, which is unacceptable both because it means that Jane is hurt and that he himself is the source of it. Jake is therefore put into a tough situation: if he wants to pursue Dirk, and again I think he really does, he's going to have to push past the awkwardness of Jane's "unrequited pinings" first, and it turns out the best way to get around that is to pretend the feelings don't exist in the first place. Jake takes his insecurities and the idea that all of his friends couldn't possibly have a crush on him at the same time and runs with it because the conclusion that only Dirk likes him and thus that he only has to deal with Dirk's romantic feelings benefits him the most. He can disregard Jane's feelings entirely because Jane already did it first by straight up saying "No!" when he explicitly asked her. And yeah, maybe he does genuinely believe it afterwards, and maybe it was born out of a natural skepticism, but Jake is still changing the narrative to one that better fits his goals, pressuring Jane until she says no and then holding to that conclusion so strongly she can't back out.

(Note: Another example of Jake fucking with someone in a conversation can be seen in (A6A5:5669) where he's talking to Caliborn. Just to reiterate that he knows how to fuck w/ people in conversation when he really wants to by playing up his own stupidity)

2. JANE. Oh Janey, maybe I should make this a fully separate post to go along with my John analysis... But to answer your question, I think there are a few things about Jane's upbringing that might've influenced her to be the way that she is.

The key difference between the childhood of John and Jane imo is the fact that while John had a (mostly) normal one by typical human (American?) standards, Jane had an actively privileged one, growing up as the heiress of a corporate empire and thus being actively told throughout her childhood that she is not only important in the way that any child should be to their parent, but Important as the future heir to the company. Even the "assassination attempts" kinda point toward this for her, equating her with a (to-be) president through the specific type of danger she is put under. If I may show my personal biases for a moment too, I think the fact that Jane is the heiress to a capitalist corporation also means that she is inclined towards conservative in a way that a lot of other Homestuck characters aren't, especially considering how the HIC is associated with fascism. (Whether or not that association is done well is an argument for another day, but I digress.) You can kinda see this with how Jane is homophobic to Dirk- while all of the alphas have their own brand of homophobia towards him, Roxy because of her own unrequited pinings and Jake because toxic masculinity in movies is a powerful force, Jane is straight up ignorant about the fact that he's even gay in the first place, needing Roxy to really jam it in there ("TG: JANE GET A CLUE (A6A2:4571)) to really get the full picture.

Talking about intelligence again, Jane is also separated from her friends specifically because of her inability to accept things that she sees as too far outside of reality. This means that she actually grows up distinctly isolated from everyone else in terms of knowledge, being the only one to not acknowledge the reality of Dirk and Roxy's lives in the future due to her own stubbornness. She's actually kind of like John in that way, except where John is passively unaware of the significance of the abuse his friends are facing from their guardian figures, Jane takes on the more active role many HS girls do and straight up refuses to face the truth. I think a part of that is just Jane's personality, but a part of it can be attributed to her childhood or even the subliminal messaging she is regularly subject to through all of her Crocker-related gadgetry. I'd also again like to point you back to my second reblog from this post where I talk about the structural ignorance of oppressive societies; in this story, regardless of whether or not it actually meaningfully benefits Jane in any meaningful way, she is put into the position of someone gaining from HIC's oppressive society so she may be inclined towards that same kind of ignorance.

Anyways, I need to get back to writing my actual full response now so. See ya lol

in writing my response to @tipsygnostalgy's most recent dirkjake essay post, i accidentally wrote my own mini-essay. here's a little sneak peak since i dunno if i'll be able to finish this one tonight:

I’ve been thinking a lot about what Dirk says to Jane during their conversation post-Tricksters (A6A5A1x2:5830):

TT: We were all designated for a session that was utterly inert. TT: A place where the mechanisms for success never even existed to begin with. TT: In such a place it makes sense that the formal leader would be neutralized, to made feel unempowered and static. TT: And it seems particularly fitting she would be the noble of life in a realm of the dead. TT: A realm that foretold of a life player who felt lifeless, a hope player who felt hopeless, and a heart player who was just a stone cold motherfucker.

I feel like this conversation gets misread a lot, particularly in that people will often ignore the fact that Dirk is clearly biased in terms of his praise/idolization of Roxy and disregard for/blatant hatred of himself. Because the thing is- Jake isn’t hopeless, if anything he’s fuckin overflowing with hope when it comes to believing in other people, it’s just that he completely lacks that same belief when it comes to himself. Act Omega really got that part right, imo, with the fact that Jake really does need the reassurance that other people (namely, Dirk) believe in him in order to be empowered to actually start being active. “Learned helplessness” is the idea that comes to mind for me, one of the key ways that Jake is put into the stereotypical “woman’s role” is in the fact that he feels like he can never be direct in getting what he wants. But actually, I think Jake is pretty active, he just does it in stupidly subtle ways so that he can avoid having to take responsibility for literally anything. That conversation with Jane, for example- he still manipulates Jane into friendzoning herself, therefore getting what he wants (Dirk), he just muddles the waters enough that he doesn’t have to take responsibility for hurting her by rejecting her.

I think Jane actually is thematically a good representative of the alphas, in the same way that John is for the betas (and really all kids, but Johnny is special cause he was #1), it’s just that you have to look at her class, not her aspect. Maids are typically understood as overflowing with their aspect, literally made of it, causing them to have a very close, personal relationship with it but also putting a strain on their relationship with others because of it. The word “maid” also brings to mind servitude to others, which is big for the Megidos & their history w/ Doc Scratch.

While Jane struggles a lot with giving (life) to others, I still think the Maid class really is relevant to all of the alphas, especially Dirk and Jake but also kinda Roxy. This is where I think Dirk is ever so slightly off in his interpretation of their session- it’s not that they’re lacking their aspect, they can’t stop giving it away in service of each other honestly, it’s that they can’t give the same help to themselves.

Jake fervently believes in his friends, he has to if he wants them to be real as you said above, and it’s ultimately all very selfish, but he cannot believe in himself to the point where he needs to create a fucking intricately detailed copy of his boyfriend to tell all of his thoughts to him before he can believe they’re true. Dirk is fucking overflowing with love for his friends, his introduction to the comic is making sure Jane is alright, he holds onto Roxy and seems to be almost as devastated as she is that he can’t love her the way that she wants him to, Jake, but he absolutely cannot give that same affection and sympathy to himself. Roxy holds the group together, yes, but I think it’s in a very different way than Karkat and his blood aspect- she is the confidant that everyone talks to and everyone can confide their secrets in (regardless of how well she keeps them- sorry Jane, lol), she is void in that she is the keeper of secrets but also in that, by getting people to communicate and giving them advice, she takes away the void/confusion and helps them see a better path. However she cannot hold her own secrets, doesn’t have anyone else to confide in in the way that she wants to (Dirk gets it but doesn’t love her that way, Jane doesn’t believe her, Jake) and passively aggressively lashes out because of it.

It’s their fundamental flaw and the motivation behind the lies in their introductions and their problems with miscommunication. They love each other so fucking dearly, care so agonizingly much about one another, but can’t deal with themselves, can barely even face a mirror. It's the void session: heart is locked off, hope is twisted into something strange, and life has already long-since ended. The reason why Roxy is able to rise above all that shit is because she chooses to engage with her own issues, to face her alcoholism and shitty behavior head on and Deal With It, in a way that the others simply aren’t.

[madswonders]

A Lesson In Romance #10: Thoughts

Spencer Reid x Fem!BAU!Reader

Genre: Hurt/Comfort

Warnings: Implied anxiety, Mentions of canon-typical violence

Word Count: 2.5k

Plot: Reader keeps getting caught in rom-com situations with Spencer Reid. This time, they're paired together on a case.

A/N: I know that the BAU's conference room has big-ass glass windows but just imagine that the blinds are closed for the entirety of this chapter aha. Also this chapter is a doozy... like 1k words longer than usual, so enjoy!

Masterlist | All chapters here!

---------

As Peter Gizzi once described the phenomena of love, "About you there is nothing I wouldn’t want to know / With you nothing is simple yet nothing is simpler."

In high school, your reputation always preceded you. The cynic that never had a boyfriend, much less a drunken one-night stand; a prude who waited over ten dates to have her first kiss; or the "ice queen" who kept her emotions locked up and threw away the key.

If they saw you now, you wondered if they would laugh at how you've changed; because these days, you looked like you were keeping the best secret in the world, one that threatened to burst from your lips every time you smiled.

What you didn’t know, is that you didn't need to be a profiler to see it. From the bubbling laughter and whispered conversations, to the not-so-secret longing glances. You and Spencer disappeared into your own world when you were together, and everybody knew it.

And for the first few weeks, that was enough. You found it easier than usual to ignore the thoughts that lurked in the back of your mind. That is, until you couldn't.

"... I want you and Spencer to work on the geographic profile." Hotch had announced, and you remembered the feeling of your blood running cold.

There were two reasons for this. First was the fact that this case linked twenty homicides across three years to a single unsub. If there was any case that required the two nerdiest members of the BAU to team up, this was it.

Unfortunately, that fact was closely followed by an overwhelming fear — and you wanted to preface this by saying that you were usually a woman of logic and science — but, somehow, you couldn't shake the thought that something bad was going to happen to you and Spencer, and you weren't ready for it.

Leaning against the cool conference room wall, you tapped your toes in an impatient rhythm against the carpeted floor. You were trying to recite what you learned from your PhD; that your mind was jumping to conclusions and that it was normal to be nervous. It was normal to feel this way. You were normal.

"Are you okay?" Spencer asked, jolting you out of your mantra.

You realised your boyfriend had been talking to you for awhile now, but clearly, you weren't listening. You shook your head apologetically.

"Sorry, I was just thinking. Could you say that again?"

"I was just saying, you can start by pinning the names and locations of the victims, and I'll put up the crime scene photos... but are you sure you're okay?" He asked again, this time shooting you those puppy dog eyes that made you weak.

"Y-yeah, I'm fine. Let's get to work." You said firmly, grabbing the box of push pins. You felt his gaze linger on you for a second, before he began picking up his own stack of pictures.

The first hour sped by quickly as you and Spencer listed out all of the unsub’s possible motives and next victims. At the half hour mark, Hotch dropped in to check on your progress, bringing takeaway coffee and leaving with a rare smile.

At the second hour, the rest of the team returned with some new leads, and unfortunately, new bodies, but nothing that helped solidify the profile any further than what you already had.

At the fifth hour, there was no denying it. The team had hit a wall. While the rest of them were back in the field investigating more leads, you sipped on your second cup of coffee while staring at the evidence board. Spencer paced the room behind you.

"The messy dump sites. The carvings onto the victims' chests. One points to the unsub being disorganised and inexperienced, but the other is a clear, almost narcissistic ritual." The doctor thought aloud.

"Usually that means the unsub is trying to make a statement, but he killed his first ten victims before the police found out, then killed another seven and three right under their noses before going dormant. If he wanted to make a statement, why wouldn't he tip off the police or media sooner?" He grumbled.

"Are we sure it's not a taunt to the local police’s competency? Many of his first victims were found in secluded areas with limited police support." You pointed out, tapping the edge of your cup in thought.

"No, the victimology and locations are too wide spread. A taunt would present a clearer message." He said.

You turned around suddenly, causing him to halt in his steps. "Here's something completely off the wall — but what if the unsub was trying to achieve a specific pattern with his kills?" You said, gesturing with your cup.

Tap, tap-tap, tap, you created the rhythm with your finger.

"That would explain why he isn't acting like a narcissist. Maybe he's suffering a mental condition that compels him to complete a certain pattern, and subsequently, ritual with his kills. Could be rhythmical, musical, numerical..." You explained.

"Numerical. That's it!" Spencer squeaked, rushing to the board with a marker. "I thought these numbers seemed familiar earlier, that's because they make up prime numbers!"

He backed away from the board to reveal what he wrote. The numbers 2, 3, 5, 7, and 11. A lightbulb turned on in your head.

"2, 3 and 5 make up the first ten kills. 7 is the next, which he managed to complete perfectly, but something happened to the unsub at 11." Spencer voiced your thoughts.

"He might have been incarcerated, or injured. But we can't rule out the possibility that he might have moved out of town and resumed the pattern elsewhere. So either we can expect 8 more victims here, or the unsub has already moved onto the next number: 13." You quickly finished the train of thought.

"Love, you're a genius!" Spencer rushed over to pick you up by the waist, twirling you as you laughed in relief. But the relief turned to surprise when he kissed you deeply.

God, he was good at this. Even when your feet touched the ground, it felt like you were seeing stars. Though it was only when your lips parted that he had the decency to blush.

"Love?" You breathed.

Spencer's cheeks turned crimson in embarrassment, but he didn't back away. Instead, he leaned forward, bumping your foreheads together gently.

"I didn't know you had that in you, doctor." You teased.

"Well, my mother did school me in classic romance literature from a young age. Not to mention, I happen to be a genius at most things..." You could hear the smile in his voice, and you giggled.

The doctor pulled away then, an adoring smile still plastered across his face. "Are you fee—" He began, but his voice died in his throat as his gaze fixated on something behind you.

"Ooooh, am I interrupting something?" You turned around to see none other than Penelope smiling coyly from the doorway, and the two of you jumped apart.

"N-no, nothing!" Spencer blurted out.

"All fine and dandy here." You added on, blushing furiously.

The tech analyst smiled deviously. "Well, I thought I'd come and check on my two favourite lovebirds. Anything else from the case for me to chew on? Except whatever that was earlier." She teased.

"Actually, there is." You cleared your throat awkwardly, while the good doctor looked like he wanted to melt into the carpet.

"We need you to search up murders in neighbouring cities that match the mutilation by our unsub, then cross-reference the time frame with any new residents. We suspect he might be trying to complete a pattern, and that he may have done it somewhere other than here." You said.

"On it, future-Mrs-Genius. I will get back to you so fast that you won't even have time to get down and dirty." She half-yelled that last bit, heels clicking as she walked back to her office. Before you could even formulate a response, she was gone.

You felt your boyfriend wrap his arms around you from the back. "Now, where were we?" He whispered.

You giggled, leaning back into the doctor's chest while he rocked your bodies side to side. "Are you feeling better now?" He asked.

"Next time someone says it's not as intense in here as it is out there, I'm going to give them a stern talking to." You joked.

"You know what I mean, love." Spencer reiterated gently, the pet name falling from his lips like it was the most natural thing in the world. "If you tell me about it, I can help you. You know I'm always here for you."

You sighed softly, blinking back tears that threatened to spill.

"It's something stupid. I-I'm fine."

He turned you around, brows furrowing in concern when a tear rolled down your cheek. "What's wrong?" He asked, wiping it away tenderly.

"I— I was worried about us working together." You admitted. "And it's not because I don't like working with you, but I just— I just couldn't—"

"Take a deep breath, love. Slowly." He held your shoulders as you breathed in and out, once, twice.

"I've been afraid this whole day — no, for awhile now — that something was going to happen to our relationship." You confessed shakily. "And it's not about our jobs — although I worry about that too — but I'm scared that one day you'll wake up and realise that I'm not worth the trouble."

You looked up at the ceiling, trying to stop the next wave of tears.

"A-and it's only gotten worse because I've never been so h-happy with another person before. Only you've made me feel this way, and I'm t-terrified that I'll lose what we have."

There was a brief silence as Spencer pulled you close to his chest, one hand stroking your hair carefully. You could hear his heart beating fast.

"Do you remember when the team tricked us into sharing a bed?" He whispered, a hint of a smile trickling into his voice. "I think about it every single time we're about to go into the field. Because you said you'd never leave me, and now, whenever we're out there, I know I'm not alone."

He breathed in deeply, your head gently rising and falling together with his chest.

"You've given me someone to come home to, love. What we have, you'll never lose it, okay?" He whispered.

"Baby, I—" Your voice halted. Crap.

"Wait. Baby?" Spencer repeated back to you, a teasing lilt in his voice. Your face flushed, and you unwinded your arms from your boyfriend to cover your face.

"Oh god, can we pretend that didn't just happen?"

"I have an eidetic memory." He pointed out. You let out a watery laugh, knowing when you had lost.

"Alright, alright. But I do have another ide—"

Then, the conference room phone rang. It was Emily. "Hey guys, Garcia managed to narrow down the unsub and we're 10 out, but we'll need some back-up."

"Be there in 15." You replied, while Spencer shot you an amused look, Luckily, he waited for the call to end before saying the next words.

"Let's go, baby." He wiggled his eyebrows.

You rolled your eyes and laughed, already strapping on your kevlar. "That's it. You're not driving."

"Aww!"

---------

After the major breakthrough in the case — all thanks to Nerd 1 and Nerd 2, as Derek fondly called the two of you — the case managed to wrap up neatly and the BAU found themselves in a rare position. Ready to end the work day, on time.

Not that anybody was packing up to leave just yet, although you wished they would, because Penelope had decided to start enthusiastically retelling how she found the BAU's resident lovebirds in the conference room, unable to keep their hands off each other.

"Last I heard, pet names aren't a crime — and how long were you standing there anyway?" You accused, blushing.

"Firstly, they are. Criminally cute, that is!" Penelope squealed, while the rest were in fits of laughter. "And secondly, you should never underestimate my awesome ninja abilities, because I heard everything that I needed to hear."

"Do I even want to know?" Spencers winced.

"I don't think you do, pretty boy." Derek laughed, clapping the genius on the back.

"Wait, wait, wait. Can we go back to how Spencer's pet name of choice is love?" Emily gasped in laughter.

"You've got to admit it's kind of cute, Emily." JJ smiled.

"Sure. If you're courting Mr. Darcy and attending cotillions."

"C'mon, Prentiss. All that means is that our boy's got style." Derek added to laughter, while Spencer whined in protest.

The door to Hotch's office opened suddenly, both him and Rossi stepping out with expressions of urgency on their faces.

“Sorry to break up the fun, kiddos. But there's been an update to the case.” Rossi announced, following right behind Hotch to the conference room.

The laughs were wiped off everybody's faces as you traded concerned looks. As you filed into the room, Hotch had already begun speaking.

“Another body was found half an hour ago. Same MO, same random victimology, and same kind of dumpsite. And the unsub just told us where to find his copycat.”

“Wait, we never profiled a second unsub.” Derek interjected.

"It doesn't makes sense — the first unsub is a control freak. He didn't like the idea of anybody messing with his sequence. Wouldn't he have done something if he knew somebody else was copying his pattern?" You asked.

"We profiled that he wouldn't be able to deviate from his pattern. What if he had to continue, even when somebody else was committing some of the crimes for him?" Spencer countered.

“Hold on, you said the unsub gave us a location?” Emily asked.

"And a time." Rossi voiced up. “8pm tonight at The Basil. The first unsub claims that's where the copycat finds his next targets."

"How do we know if we can trust him?" Derek asked.

"We don't. But he didn't display any telltale signs of doubt when he told us, and this is the only lead we have." Hotch's frown deepened. You had a feeling he didn't like the idea of this either, but the team didn't have a choice.

"Okay, if we're doing this, he can't know we're onto him," Emily thought aloud, "and we'll need precautions in case it's a trap. That means..."

"Undercover agents... and the bait." Hotch said with finality.

“And who did you have in mind for that?” You piped up, and everyone turned their eyes to you.

“You and Reid.” He stated the obvious.

“B-b-but, I’ve never gone—"

“You’ve more than proven your abilities in the field since you joined us, and having natural chemistry will make it less suspicious to the unsub.”

You opened your mouth, but no words fell from it. Hotch was right. Of course he was right.

As if hearing your thoughts, Spencer took your hand in his and squeezed, and you felt a little calmer already. “Ok, I’ll do it.” You said determinedly, while the doctor echoed your sentiment.

Hotch nodded, beginning to assign roles to the rest of the team while you squeezed your boyfriend's hand tighter, a new mantra forming in your head.

Everything is going to be okay. Everything will be okay.

----------

Tag List:

@blue-space-porgs @nobutalsoyes @lady-loves-a-lot @queen-flower @agentcarterisgay @totalmess191 @sapphic-prentiss @oops-all-ajs @spottedzebrasinpartyhats @mellowalieneggsknight @kenny-0909 || @averyhotchner @amesandpineapples @willowrose99

[kingstylesdaily]

Playtime With Harry Styles

via vogue.com

THE MEN’S BATHING POND in London’s Hampstead Heath at daybreak on a gloomy September morning seemed such an unlikely locale for my first meeting with Harry Styles, music’s legendarily charm-heavy style czar, that I wondered perhaps if something had been lost in translation.

But then there is Styles, cheerily gung ho, hidden behind a festive yellow bandana mask and a sweatshirt of his own design, surprisingly printed with three portraits of his intellectual pinup, the author Alain de Botton. “I love his writing,” says Styles. “I just think he’s brilliant. I saw him give a talk about the keys to happiness, and how one of the keys is living among friends, and how real friendship stems from being vulnerable with someone.”

In turn, de Botton’s 2016 novel The Course of Love taught Styles that “when it comes to relationships, you just expect yourself to be good at it…[but] being in a real relationship with someone is a skill,” one that Styles himself has often had to hone in the unforgiving klieg light of public attention, and in the company of such high-profile paramours as Taylor Swift and—well, Styles is too much of a gentleman to name names.

That sweatshirt and the Columbia Records tracksuit bottoms are removed in the quaint wooden open-air changing room, with its Swallows and Amazons vibe. A handful of intrepid fellow patrons in various states of undress are blissfully unaware of the 26-year-old supernova in their midst, although I must admit I’m finding it rather difficult to take my eyes off him, try as I might. Styles has been on a six-day juice cleanse in readiness for Vogue’s photographer Tyler Mitchell. He practices Pilates (“I’ve got very tight hamstrings—trying to get those open”) and meditates twice a day. “It has changed my life,” he avers, “but it’s so subtle. It’s helped me just be more present. I feel like I’m able to enjoy the things that are happening right in front of me, even if it’s food or it’s coffee or it’s being with a friend—or a swim in a really cold pond!” Styles also feels that his meditation practices have helped him through the tumult of 2020: “Meditation just brings a stillness that has been really beneficial, I think, for my mental health.”

Styles has been a pescatarian for three years, inspired by the vegan food that several members of his current band prepared on tour. “My body definitely feels better for it,” he says. His shapely torso is prettily inscribed with the tattoos of a Victorian sailor—a rose, a galleon, a mermaid, an anchor, and a palm tree among them, and, straddling his clavicle, the dates 1967 and 1957 (the respective birth years of his mother and father). Frankly, I rather wish I’d packed a beach muumuu.

We take the piratical gangplank that juts into the water and dive in. Let me tell you, this is not the Aegean. The glacial water is a cloudy phlegm green beneath the surface, and clammy reeds slap one’s ankles. Styles, who admits he will try any fad, has recently had a couple of cryotherapy sessions and is evidently less susceptible to the cold. By the time we have swum a full circuit, however, body temperatures have adjusted, and the ice, you might say, has been broken. Duly invigorated, we are ready to face the day. Styles has thoughtfully brought a canister of coffee and some bottles of water in his backpack, and we sit at either end of a park bench for a socially distanced chat.

It seems that he has had a productive year. At the onset of lockdown, Styles found himself in his second home, in the canyons of Los Angeles. After a few days on his own, however, he moved in with a pod of three friends (and subsequently with two band members, Mitch Rowland and Sarah Jones). They “would put names in a hat and plan the week out,” Styles explains. “If you were Monday, you would choose the movie, dinner, and the activity for that day. I like to make soups, and there was a big array of movies; we went all over the board,” from Goodfellas to Clueless. The experience, says Styles, “has been a really good lesson in what makes me happy now. It’s such a good example of living in the moment. I honestly just like being around my friends,” he adds. “That’s been my biggest takeaway. Just being on my own the whole time, I would have been miserable.”

Styles is big on friendship groups and considers his former and legendarily hysteria-inducing boy band, One Direction, to have been one of them. “I think the typical thing is to come out of a band like that and almost feel like you have to apologize for being in it,” says Styles. “But I loved my time in it. It was all new to me, and I was trying to learn as much as I could. I wanted to soak it in…. I think that’s probably why I like traveling now—soaking stuff up.” In a post-COVID future, he is contemplating a temporary move to Tokyo, explaining that “there’s a respect and a stillness, a quietness that I really loved every time I’ve been there.”

In 1D, Styles was making music whenever he could. “After a show you’d go in a hotel room and put down some vocals,” he recalls. As a result, his first solo album, 2017’s Harry Styles, “was when I really fell in love with being in the studio,” he says. “I loved it as much as touring.” Today he favors isolating with his core group of collaborators, “our little bubble”—Rowland, Kid Harpoon (né Tom Hull), and Tyler Johnson. “A safe space,” as he describes it.

In the music he has been working on in 2020, Styles wants to capture the experimental spirit that informed his second album, last year’s Fine Line. With his debut album, “I was very much finding out what my sound was as a solo artist,” he says. “I can see all the places where it almost felt like I was bowling with the bumpers up. I think with the second album I let go of the fear of getting it wrong and…it was really joyous and really free. I think with music it’s so important to evolve—and that extends to clothes and videos and all that stuff. That’s why you look back at David Bowie with Ziggy Stardust or the Beatles and their different eras—that fearlessness is super inspiring.”

The seismic changes of 2020—including the Black Lives Matter uprising around racial justice—has also provided Styles with an opportunity for personal growth. “I think it’s a time for opening up and learning and listening,” he says. “I’ve been trying to read and educate myself so that in 20 years I’m still doing the right things and taking the right steps. I believe in karma, and I think it’s just a time right now where we could use a little more kindness and empathy and patience with people, be a little more prepared to listen and grow.”

Meanwhile, Styles’s euphoric single “Watermelon Sugar” became something of an escapist anthem for this dystopian summer of 2020. The video, featuring Styles (dressed in ’70s-­flavored Gucci and Bode) cavorting with a pack of beach-babe girls and boys, was shot in January, before lockdown rules came into play. By the time it was ready to be released in May, a poignant epigraph had been added: “This video is dedicated to touching.”

Styles is looking forward to touring again, when “it’s safe for everyone,” because, as he notes, “being up against people is part of the whole thing. You can’t really re-create it in any way.” But it hasn’t always been so. Early in his career, Styles was so stricken with stage fright that he regularly threw up preperformance. “I just always thought I was going to mess up or something,” he remembers. “But I’ve felt really lucky to have a group of incredibly generous fans. They’re generous emotionally—and when they come to the show, they give so much that it creates this atmosphere that I’ve always found so loving and accepting.”

THIS SUMMER, when it was safe enough to travel, Styles returned to his London home, which is where he suggests we head now, setting off in his modish Primrose Yellow ’73 Jaguar that smells of gasoline and leatherette. “Me and my dad have always bonded over cars,” Styles explains. “I never thought I’d be someone who just went out for a leisurely drive, purely for enjoyment.” On sleepless jet-lagged nights he’ll drive through London’s quiet streets, seeing neighborhoods in a new way. “I find it quite relaxing,” he says.

Over the summer Styles took a road trip with his artist friend Tomo Campbell through France and Italy, setting off at four in the morning and spending the night in Geneva, where they jumped in the lake “to wake ourselves up.” (I see a pattern emerging.) At the end of the trip Styles drove home alone, accompanied by an upbeat playlist that included “Aretha Franklin, Parliament, and a lot of Stevie Wonder. It was really fun for me,” he says. “I don’t travel like that a lot. I’m usually in such a rush, but there was a stillness to it. I love the feeling of nobody knowing where I am, that kind of escape...and freedom.”

GROWING UP in a village in the North of England, Styles thought of London as a world apart: “It truly felt like a different country.” At a wide-eyed 16, he came down to the teeming metropolis after his mother entered him on the U.K. talent-search show The X Factor. “I went to the audition to find out if I could sing,” Styles recalls, “or if my mum was just being nice to me.” Styles was eliminated but subsequently brought back with other contestants—Niall Horan, Liam Payne, Louis Tomlinson, and Zayn Malik—to form a boy band that was named (on Styles’s suggestion) One Direction. The wily X Factor creator and judge, Simon Cowell, soon signed them to his label Syco Records, and the rest is history: 1D’s first four albums, supported by four world tours from 2011 to 2015, debuted at number one on the U.S. Billboard charts, and the band has sold 70 million records to date. At 18, Styles bought the London house he now calls home. “I was going to do two weeks’ work to it,” he remembers, “but when I came back there was no second floor,” so he moved in with adult friends who lived nearby till the renovation was complete. “Eighteen months,” he deadpans. “I’ve always seen that period as pretty pivotal for me, as there’s that moment at the party where it’s getting late, and half of the people would go upstairs to do drugs, and the other people go home. I was like, ‘I don’t really know this friend’s wife, so I’m not going to get all messy and then go home.’ I had to behave a bit, at a time where everything else about my life felt I didn’t have to behave really. I’ve been lucky to always feel I have this family unit somewhere.”

When Styles’s London renovation was finally done, “I went in for the first time and I cried,” he recalls. “Because I just felt like I had somewhere. L.A. feels like holiday, but this feels like home.”

Behind its pink door, Styles’s house has all the trappings of rock stardom—there’s a man cave filled with guitars, a Sex Pistols Never Mind the Bollocks poster (a moving-in gift from his decorator), a Stevie Nicks album cover. Fleetwood Mac’s “Dreams” was one of the first songs he knew the words to—“My parents were big fans”—and he and Nicks have formed something of a mutual-admiration society. At the beginning of lockdown, Nicks tweeted to her fans that she was taking inspiration from Fine Line: “Way to go, H,” she wrote. “It is your Rumours.” “She’s always there for you,” said Styles when he inducted Nicks into the Rock & Roll Hall of Fame in 2019. “She knows what you need—advice, a little wisdom, a blouse, a shawl; she’s got you covered.”

Styles makes us some tea in the light-filled kitchen and then wanders into the convivial living room, where he strikes an insouciant pose on the chesterfield sofa, upholstered in a turquoise velvet that perhaps not entirely coincidentally sets off his eyes. Styles admits that his lockdown lewk was “sweatpants, constantly,” and he is relishing the opportunity to dress up again. He doesn’t have to wait long: The following day, under the eaves of a Victorian mansion in Notting Hill, I arrive in the middle of fittings for Vogue’s shoot and discover Styles in his Y-fronts, patiently waiting to try on looks for fashion editor Camilla Nickerson and photographer Tyler Mitchell. Styles’s personal stylist, Harry Lambert, wearing a pearl necklace and his nails colored in various shades of green varnish, à la Sally Bowles, is providing helpful backup (Britain’s Rule of Six hasn’t yet been imposed).

Styles, who has thoughtfully brought me a copy of de Botton’s 2006 book The Architecture of Happiness, is instinctively and almost quaintly polite, in an old-fashioned, holding-open-doors and not-mentioning-lovers-by-name sort of way. He is astounded to discover that the Atlanta-born Mitchell has yet to experience a traditional British Sunday roast dinner. Assuring him that “it’s basically like Thanksgiving every Sunday,” Styles gives Mitchell the details of his favorite London restaurants in which to enjoy one. “It’s a good thing to be nice,” Mitchell tells me after a morning in Styles’s company.

MITCHELL has Lionel Wendt’s languorously homoerotic 1930s portraits of young Sri Lankan men on his mood board. Nickerson is thinking of Irving Penn’s legendary fall 1950 Paris haute couture collections sitting, where he photographed midcentury supermodels, including his wife, Lisa Fonssagrives, in high-style Dior and Balenciaga creations. Styles is up for all of it, and so, it would seem, is the menswear landscape of 2020: Jonathan Anderson has produced a trapeze coat anchored with a chunky gold martingale; John Galliano at Maison Margiela has fashioned a khaki trench with a portrait neckline in layers of colored tulle; and Harris Reed—a Saint Martins fashion student sleuthed by Lambert who ended up making some looks for Styles’s last tour—has spent a week making a broad-shouldered Smoking jacket with high-waisted, wide-leg pants that have become a Styles signature since he posed for Tim Walker for the cover of Fine Line wearing a Gucci pair—a silhouette that was repeated in the tour wardrobe. (“I liked the idea of having that uniform,” says Styles.) Reed’s version is worn with a hoopskirt draped in festoons of hot-pink satin that somehow suggests Deborah Kerr asking Yul Brynner’s King of Siam, “Shall we dance?”

Styles introduces me to the writer and eyewear designer Gemma Styles, “my sister from the same womb,” he says. She is also here for the fitting: The siblings plan to surprise their mother with the double portrait on these pages.

I ask her whether her brother had always been interested in clothes.

“My mum loved to dress us up,” she remembers. “I always hated it, and Harry was always quite into it. She did some really elaborate papier-mâché outfits: She made a giant mug and then painted an atlas on it, and that was Harry being ‘The World Cup.’ Harry also had a little dalmatian-dog outfit,” she adds, “a hand-me-down from our closest family friends. He would just spend an inordinate amount of time wearing that outfit. But then Mum dressed me up as Cruella de Vil. She was always looking for any opportunity!”

“As a kid I definitely liked fancy dress,” Styles says. There were school plays, the first of which cast him as Barney, a church mouse. “I was really young, and I wore tights for that,” he recalls. “I remember it was crazy to me that I was wearing a pair of tights. And that was maybe where it all kicked off!”

Acting has also remained a fundamental form of expression for Styles. His sister recalls that even on the eve of his life-changing X Factor audition, Styles could sing in public only in an assumed voice. “He used to do quite a good sort of Elvis warble,” she remembers. During the rehearsals in the family home, “he would sing in the bathroom because if it was him singing as himself, he just couldn’t have anyone looking at him! I love his voice now,” she adds. “I’m so glad that he makes music that I actually enjoy listening to.”

Styles’s role-playing continued soon after 1D went on permanent hiatus in 2016, and he was cast in Christopher Nolan’s Dunkirk, beating out dozens of professional actors for the role. “The good part was my character was a young soldier who didn’t really know what he was doing,” says Styles modestly. “The scale of the movie was so big that I was a tiny piece of the puzzle. It was definitely humbling. I just loved being outside of my comfort zone.”

His performance caught the eye of Olivia Wilde, who remembers that it “blew me away—the openness and commitment.” In turn, Styles loved Wilde’s directorial debut, Booksmart, and is “very honored” that she cast him in a leading role for her second feature, a thriller titled Don’t Worry Darling, which went into production this fall. Styles will play the husband to Florence Pugh in what Styles describes as “a 1950s utopia in the California desert.”

Wilde’s movie is costumed by Academy Award nominee Arianne Phillips. “She and I did a little victory dance when we heard that we officially had Harry in the film,” notes Wilde, “because we knew that he has a real appreciation for fashion and style. And this movie is incredibly stylistic. It’s very heightened and opulent, and I’m really grateful that he is so enthusiastic about that element of the process—some actors just don’t care.”

“I like playing dress-up in general,” Styles concurs, in a masterpiece of understatement: This is the man, after all, who cohosted the Met’s 2019 “Notes on Camp” gala attired in a nipple-freeing black organza blouse with a lace jabot, and pants so high-waisted that they cupped his pectorals. The ensemble, accessorized with the pearl-drop earring of a dandified Elizabethan courtier, was created for Styles by Gucci’s Alessandro Michele, whom he befriended in 2014. Styles, who has subsequently personified the brand as the face of the Gucci fragrance, finds Michele “fearless with his work and his imagination. It’s really inspiring to be around someone who works like that.”

The two first met in London over a cappuccino. “It was just a kind of PR appointment,” says Michele, “but something magical happened, and Harry is now a friend. He has the aura of an English rock-and-roll star—like a young Greek god with the attitude of James Dean and a little bit of Mick Jagger—but no one is sweeter. He is the image of a new era, of the way that a man can look.”

Styles credits his style trans­formation—from Jack Wills tracksuit-clad boy-band heartthrob to nonpareil fashionisto—to his meeting the droll young stylist Harry Lambert seven years ago. They hit it off at once and have conspired ever since, enjoying a playfully campy rapport and calling each other Sue and Susan as they parse the niceties of the scarlet lace Gucci man-bra that Michele has made for Vogue’s shoot, for instance, or a pair of Bode pants hand-painted with biographical images (Styles sent Emily Adams Bode images of his family, and a photograph he had found of David Hockney and Joni Mitchell. “The idea of those two being friends, to me, was really beautiful,” Styles explains).

“He just has fun with clothing, and that’s kind of where I’ve got it from,” says Styles of Lambert. “He doesn’t take it too seriously, which means I don’t take it too seriously.” The process has been evolutionary. At his first meeting with Lambert, the stylist proposed “a pair of flares, and I was like, ‘Flares? That’s fucking crazy,’  ” Styles remembers. Now he declares that “you can never be overdressed. There’s no such thing. The people that I looked up to in music—Prince and David Bowie and Elvis and Freddie Mercury and Elton John—they’re such showmen. As a kid it was completely mind-blowing. Now I’ll put on something that feels really flamboyant, and I don’t feel crazy wearing it. I think if you get something that you feel amazing in, it’s like a superhero outfit. Clothes are there to have fun with and experiment with and play with. What’s really exciting is that all of these lines are just kind of crumbling away. When you take away ‘There’s clothes for men and there’s clothes for women,’ once you remove any barriers, obviously you open up the arena in which you can play. I’ll go in shops sometimes, and I just find myself looking at the women’s clothes thinking they’re amazing. It’s like anything—anytime you’re putting barriers up in your own life, you’re just limiting yourself. There’s so much joy to be had in playing with clothes. I’ve never really thought too much about what it means—it just becomes this extended part of creating something.”

“He’s up for it,” confirms Lambert, who earlier this year, for instance, found a JW Anderson cardigan with the look of a Rubik’s Cube (“on sale at matches.com!”). Styles wore it, accessorized with his own pearl necklace, for a Today rehearsal in February and it went viral: His fans were soon knitting their own versions and posting the results on TikTok. Jonathan Anderson declared himself “so impressed and incredibly humbled by this trend” that he nimbly made the pattern available (complete with a YouTube tutorial) so that Styles’s fans could copy it for free. Meanwhile, London’s storied Victoria & Albert Museum has requested Styles’s original: an emblematic document of how people got creative during the COVID era. “It’s going to be in their permanent collection,” says Lambert exultantly. “Is that not sick? Is that not the most epic thing?”

“To me, he’s very modern,” says Wilde of Styles, “and I hope that this brand of confidence as a male that Harry has—truly devoid of any traces of toxic masculinity—is indicative of his generation and therefore the future of the world. I think he is in many ways championing that, spearheading that. It’s pretty powerful and kind of extraordinary to see someone in his position redefining what it can mean to be a man with confidence.”

“He’s really in touch with his feminine side because it’s something natural,” notes Michele. “And he’s a big inspiration to a younger generation—about how you can be in a totally free playground when you feel comfortable. I think that he’s a revolutionary.”

STYLES’S confidence is on full display the day after the fitting, which finds us all on the beautiful Sussex dales. Over the summit of the hill, with its trees blown horizontal by the fierce winds, lies the English Channel. Even though it’s a two-hour drive from London, the fresh-faced Styles, who went to bed at 9 p.m., has arrived on set early: He is famously early for everything. The team is installed in a traditional flint-stone barn. The giant doors have been replaced by glass and frame a bucolic view of distant grazing sheep. “Look at that field!” says Styles. “How lucky are we? This is our office! Smell the roses!” Lambert starts to sing “Kumbaya, my Lord.”

Hairdresser Malcolm Edwards is setting Styles’s hair in a Victory roll with silver clips, and until it is combed out he resembles Kathryn Grayson with stubble. His fingers are freighted with rings, and “he has a new army of mini purses,” says Lambert, gesturing to an accessory table heaving with examples including a mini sky-blue Gucci Diana bag discreetly monogrammed HS. Michele has also made Styles a dress for the shoot that Tissot might have liked to paint—acres of ice-blue ruffles, black Valenciennes lace, and suivez-moi, jeune homme ribbons. Erelong, Styles is gamely racing up a hill in it, dodging sheep scat, thistles, and shards of chalk, and striking a pose for Mitchell that manages to make ruffles a compelling new masculine proposition, just as Mr. Fish’s frothy white cotton dress—equal parts Romantic poet and Greek presidential guard—did for Mick Jagger when he wore it for The Rolling Stones’ free performance in Hyde Park in 1969, or as the suburban-mom floral housedress did for Kurt Cobain as he defined the iconoclastic grunge aesthetic. Styles is mischievously singing ABBA’s “Gimme! Gimme! Gimme! (A Man After Midnight)” to himself when Mitchell calls him outside to jump up and down on a trampoline in a Comme des Garçons buttoned wool kilt. “How did it look?” asks his sister when he comes in from the cold. “Divine,” says her brother in playful Lambert-speak.

As the wide sky is washed in pink, orange, and gray, like a Turner sunset, and Mitchell calls it a successful day, Styles is playing “Cherry” from Fine Line on his Fender acoustic on the hilltop. “He does his own stunts,” says his sister, laughing. The impromptu set is greeted with applause. “Thank you, Antwerp!” says Styles playfully, bowing to the crowd. “Thank you, fashion!”

[hldailyupdate]

Playtime With Harry Styles

THE MEN’S BATHING POND in London’s Hampstead Heath at daybreak on a gloomy September morning seemed such an unlikely locale for my first meeting with Harry Styles, music’s legendarily charm-heavy style czar, that I wondered perhaps if something had been lost in translation.

But then there is Styles, cheerily gung ho, hidden behind a festive yellow bandana mask and a sweatshirt of his own design, surprisingly printed with three portraits of his intellectual pinup, the author Alain de Botton. “I love his writing,” says Styles. “I just think he’s brilliant. I saw him give a talk about the keys to happiness, and how one of the keys is living among friends, and how real friendship stems from being vulnerable with someone.”

In turn, de Botton’s 2016 novel The Course of Love taught Styles that “when it comes to relationships, you just expect yourself to be good at it…[but] being in a real relationship with someone is a skill,” one that Styles himself has often had to hone in the unforgiving klieg light of public attention, and in the company of such high-profile paramours as Taylor Swift and—well, Styles is too much of a gentleman to name names.

That sweatshirt and the Columbia Records tracksuit bottoms are removed in the quaint wooden open-air changing room, with its Swallows and Amazons vibe. A handful of intrepid fellow patrons in various states of undress are blissfully unaware of the 26-year-old supernova in their midst, although I must admit I’m finding it rather difficult to take my eyes off him, try as I might. Styles has been on a six-day juice cleanse in readiness for Vogue’s photographer Tyler Mitchell. He practices Pilates (“I’ve got very tight hamstrings—trying to get those open”) and meditates twice a day. “It has changed my life,” he avers, “but it’s so subtle. It’s helped me just be more present. I feel like I’m able to enjoy the things that are happening right in front of me, even if it’s food or it’s coffee or it’s being with a friend—or a swim in a really cold pond!” Styles also feels that his meditation practices have helped him through the tumult of 2020: “Meditation just brings a stillness that has been really beneficial, I think, for my mental health.”

Styles has been a pescatarian for three years, inspired by the vegan food that several members of his current band prepared on tour. “My body definitely feels better for it,” he says. His shapely torso is prettily inscribed with the tattoos of a Victorian sailor—a rose, a galleon, a mermaid, an anchor, and a palm tree among them, and, straddling his clavicle, the dates 1967 and 1957 (the respective birth years of his mother and father). Frankly, I rather wish I’d packed a beach muumuu.

We take the piratical gangplank that juts into the water and dive in. Let me tell you, this is not the Aegean. The glacial water is a cloudy phlegm green beneath the surface, and clammy reeds slap one’s ankles. Styles, who admits he will try any fad, has recently had a couple of cryotherapy sessions and is evidently less susceptible to the cold. By the time we have swum a full circuit, however, body temperatures have adjusted, and the ice, you might say, has been broken. Duly invigorated, we are ready to face the day. Styles has thoughtfully brought a canister of coffee and some bottles of water in his backpack, and we sit at either end of a park bench for a socially distanced chat.

It seems that he has had a productive year. At the onset of lockdown, Styles found himself in his second home, in the canyons of Los Angeles. After a few days on his own, however, he moved in with a pod of three friends (and subsequently with two band members, Mitch Rowland and Sarah Jones). They “would put names in a hat and plan the week out,” Styles explains. “If you were Monday, you would choose the movie, dinner, and the activity for that day. I like to make soups, and there was a big array of movies; we went all over the board,” from Goodfellas to Clueless. The experience, says Styles, “has been a really good lesson in what makes me happy now. It’s such a good example of living in the moment. I honestly just like being around my friends,” he adds. “That’s been my biggest takeaway. Just being on my own the whole time, I would have been miserable.”

Styles is big on friendship groups and considers his former and legendarily hysteria-inducing boy band, One Direction, to have been one of them. “I think the typical thing is to come out of a band like that and almost feel like you have to apologize for being in it,” says Styles. “But I loved my time in it. It was all new to me, and I was trying to learn as much as I could. I wanted to soak it in…. I think that’s probably why I like traveling now—soaking stuff up.” In a post-COVID future, he is contemplating a temporary move to Tokyo, explaining that “there’s a respect and a stillness, a quietness that I really loved every time I’ve been there.”

In 1D, Styles was making music whenever he could. “After a show you’d go in a hotel room and put down some vocals,” he recalls. As a result, his first solo album, 2017’s Harry Styles, “was when I really fell in love with being in the studio,” he says. “I loved it as much as touring.” Today he favors isolating with his core group of collaborators, “our little bubble”—Rowland, Kid Harpoon (né Tom Hull), and Tyler Johnson. “A safe space,” as he describes it.

In the music he has been working on in 2020, Styles wants to capture the experimental spirit that informed his second album, last year’s Fine Line. With his debut album, “I was very much finding out what my sound was as a solo artist,” he says. “I can see all the places where it almost felt like I was bowling with the bumpers up. I think with the second album I let go of the fear of getting it wrong and…it was really joyous and really free. I think with music it’s so important to evolve—and that extends to clothes and videos and all that stuff. That’s why you look back at David Bowie with Ziggy Stardust or the Beatles and their different eras—that fearlessness is super inspiring.”

The seismic changes of 2020—including the Black Lives Matter uprising around racial justice—has also provided Styles with an opportunity for personal growth. “I think it’s a time for opening up and learning and listening,” he says. “I’ve been trying to read and educate myself so that in 20 years I’m still doing the right things and taking the right steps. I believe in karma, and I think it’s just a time right now where we could use a little more kindness and empathy and patience with people, be a little more prepared to listen and grow.”

Meanwhile, Styles’s euphoric single “Watermelon Sugar” became something of an escapist anthem for this dystopian summer of 2020. The video, featuring Styles (dressed in ’70s-­flavored Gucci and Bode) cavorting with a pack of beach-babe girls and boys, was shot in January, before lockdown rules came into play. By the time it was ready to be released in May, a poignant epigraph had been added: “This video is dedicated to touching.”

Styles is looking forward to touring again, when “it’s safe for everyone,” because, as he notes, “being up against people is part of the whole thing. You can’t really re-create it in any way.” But it hasn’t always been so. Early in his career, Styles was so stricken with stage fright that he regularly threw up preperformance. “I just always thought I was going to mess up or something,” he remembers. “But I’ve felt really lucky to have a group of incredibly generous fans. They’re generous emotionally—and when they come to the show, they give so much that it creates this atmosphere that I’ve always found so loving and accepting.”

THIS SUMMER, when it was safe enough to travel, Styles returned to his London home, which is where he suggests we head now, setting off in his modish Primrose Yellow ’73 Jaguar that smells of gasoline and leatherette. “Me and my dad have always bonded over cars,” Styles explains. “I never thought I’d be someone who just went out for a leisurely drive, purely for enjoyment.” On sleepless jet-lagged nights he’ll drive through London’s quiet streets, seeing neighborhoods in a new way. “I find it quite relaxing,” he says.

Over the summer Styles took a road trip with his artist friend Tomo Campbell through France and Italy, setting off at four in the morning and spending the night in Geneva, where they jumped in the lake “to wake ourselves up.” (I see a pattern emerging.) At the end of the trip Styles drove home alone, accompanied by an upbeat playlist that included “Aretha Franklin, Parliament, and a lot of Stevie Wonder. It was really fun for me,” he says. “I don’t travel like that a lot. I’m usually in such a rush, but there was a stillness to it. I love the feeling of nobody knowing where I am, that kind of escape...and freedom.”

GROWING UP in a village in the North of England, Styles thought of London as a world apart: “It truly felt like a different country.” At a wide-eyed 16, he came down to the teeming metropolis after his mother entered him on the U.K. talent-search show The X Factor. “I went to the audition to find out if I could sing,” Styles recalls, “or if my mum was just being nice to me.” Styles was eliminated but subsequently brought back with other contestants—Niall Horan, Liam Payne, Louis Tomlinson, and Zayn Malik—to form a boy band that was named (on Styles’s suggestion) One Direction. The wily X Factor creator and judge, Simon Cowell, soon signed them to his label Syco Records, and the rest is history: 1D’s first four albums, supported by four world tours from 2011 to 2015, debuted at number one on the U.S. Billboard charts, and the band has sold 70 million records to date. At 18, Styles bought the London house he now calls home. “I was going to do two weeks’ work to it,” he remembers, “but when I came back there was no second floor,” so he moved in with adult friends who lived nearby till the renovation was complete. “Eighteen months,” he deadpans. “I’ve always seen that period as pretty pivotal for me, as there’s that moment at the party where it’s getting late, and half of the people would go upstairs to do drugs, and the other people go home. I was like, ‘I don’t really know this friend’s wife, so I’m not going to get all messy and then go home.’ I had to behave a bit, at a time where everything else about my life felt I didn’t have to behave really. I’ve been lucky to always feel I have this family unit somewhere.”

When Styles’s London renovation was finally done, “I went in for the first time and I cried,” he recalls. “Because I just felt like I had somewhere. L.A. feels like holiday, but this feels like home.”

“There’s so much joy to be had in playing with clothes. I’ve never thought too much about what it means—it just becomes this extended part of creating something”

Behind its pink door, Styles’s house has all the trappings of rock stardom—there’s a man cave filled with guitars, a Sex Pistols Never Mind the Bollocks poster (a moving-in gift from his decorator), a Stevie Nicks album cover. Fleetwood Mac’s “Dreams” was one of the first songs he knew the words to—“My parents were big fans”—and he and Nicks have formed something of a mutual-admiration society. At the beginning of lockdown, Nicks tweeted to her fans that she was taking inspiration from Fine Line: “Way to go, H,” she wrote. “It is your Rumours.” “She’s always there for you,” said Styles when he inducted Nicks into the Rock & Roll Hall of Fame in 2019. “She knows what you need—advice, a little wisdom, a blouse, a shawl; she’s got you covered.”

Styles makes us some tea in the light-filled kitchen and then wanders into the convivial living room, where he strikes an insouciant pose on the chesterfield sofa, upholstered in a turquoise velvet that perhaps not entirely coincidentally sets off his eyes. Styles admits that his lockdown lewk was “sweatpants, constantly,” and he is relishing the opportunity to dress up again. He doesn’t have to wait long: The following day, under the eaves of a Victorian mansion in Notting Hill, I arrive in the middle of fittings for Vogue’s shoot and discover Styles in his Y-fronts, patiently waiting to try on looks for fashion editor Camilla Nickerson and photographer Tyler Mitchell. Styles’s personal stylist, Harry Lambert, wearing a pearl necklace and his nails colored in various shades of green varnish, à la Sally Bowles, is providing helpful backup (Britain’s Rule of Six hasn’t yet been imposed).

Styles, who has thoughtfully brought me a copy of de Botton’s 2006 book The Architecture of Happiness, is instinctively and almost quaintly polite, in an old-fashioned, holding-open-doors and not-mentioning-lovers-by-name sort of way. He is astounded to discover that the Atlanta-born Mitchell has yet to experience a traditional British Sunday roast dinner. Assuring him that “it’s basically like Thanksgiving every Sunday,” Styles gives Mitchell the details of his favorite London restaurants in which to enjoy one. “It’s a good thing to be nice,” Mitchell tells me after a morning in Styles’s company.

MITCHELL has Lionel Wendt’s languorously homoerotic 1930s portraits of young Sri Lankan men on his mood board. Nickerson is thinking of Irving Penn’s legendary fall 1950 Paris haute couture collections sitting, where he photographed midcentury supermodels, including his wife, Lisa Fonssagrives, in high-style Dior and Balenciaga creations. Styles is up for all of it, and so, it would seem, is the menswear landscape of 2020: Jonathan Anderson has produced a trapeze coat anchored with a chunky gold martingale; John Galliano at Maison Margiela has fashioned a khaki trench with a portrait neckline in layers of colored tulle; and Harris Reed—a Saint Martins fashion student sleuthed by Lambert who ended up making some looks for Styles’s last tour—has spent a week making a broad-shouldered Smoking jacket with high-waisted, wide-leg pants that have become a Styles signature since he posed for Tim Walker for the cover of Fine Line wearing a Gucci pair—a silhouette that was repeated in the tour wardrobe. (“I liked the idea of having that uniform,” says Styles.) Reed’s version is worn with a hoopskirt draped in festoons of hot-pink satin that somehow suggests Deborah Kerr asking Yul Brynner’s King of Siam, “Shall we dance?”

Styles introduces me to the writer and eyewear designer Gemma Styles, “my sister from the same womb,” he says. She is also here for the fitting: The siblings plan to surprise their mother with the double portrait on these pages.

I ask her whether her brother had always been interested in clothes.

“My mum loved to dress us up,” she remembers. “I always hated it, and Harry was always quite into it. She did some really elaborate papier-mâché outfits: She made a giant mug and then painted an atlas on it, and that was Harry being ‘The World Cup.’ Harry also had a little dalmatian-dog outfit,” she adds, “a hand-me-down from our closest family friends. He would just spend an inordinate amount of time wearing that outfit. But then Mum dressed me up as Cruella de Vil. She was always looking for any opportunity!”

“As a kid I definitely liked fancy dress,” Styles says. There were school plays, the first of which cast him as Barney, a church mouse. “I was really young, and I wore tights for that,” he recalls. “I remember it was crazy to me that I was wearing a pair of tights. And that was maybe where it all kicked off!”

Acting has also remained a fundamental form of expression for Styles. His sister recalls that even on the eve of his life-changing X Factor audition, Styles could sing in public only in an assumed voice. “He used to do quite a good sort of Elvis warble,” she remembers. During the rehearsals in the family home, “he would sing in the bathroom because if it was him singing as himself, he just couldn’t have anyone looking at him! I love his voice now,” she adds. “I’m so glad that he makes music that I actually enjoy listening to.”

Styles cuts a cool figure in this black-white-and-red-all-over checked coat by JW Anderson.

Styles’s role-playing continued soon after 1D went on permanent hiatus in 2016, and he was cast in Christopher Nolan’s Dunkirk, beating out dozens of professional actors for the role. “The good part was my character was a young soldier who didn’t really know what he was doing,” says Styles modestly. “The scale of the movie was so big that I was a tiny piece of the puzzle. It was definitely humbling. I just loved being outside of my comfort zone.”

His performance caught the eye of Olivia Wilde, who remembers that it “blew me away—the openness and commitment.” In turn, Styles loved Wilde’s directorial debut, Booksmart, and is “very honored” that she cast him in a leading role for her second feature, a thriller titled Don’t Worry Darling, which went into production this fall. Styles will play the husband to Florence Pugh in what Styles describes as “a 1950s utopia in the California desert.”

Wilde’s movie is costumed by Academy Award nominee Arianne Phillips. “She and I did a little victory dance when we heard that we officially had Harry in the film,” notes Wilde, “because we knew that he has a real appreciation for fashion and style. And this movie is incredibly stylistic. It’s very heightened and opulent, and I’m really grateful that he is so enthusiastic about that element of the process—some actors just don’t care.”

“I like playing dress-up in general,” Styles concurs, in a masterpiece of understatement: This is the man, after all, who cohosted the Met’s 2019 “Notes on Camp” gala attired in a nipple-freeing black organza blouse with a lace jabot, and pants so high-waisted that they cupped his pectorals. The ensemble, accessorized with the pearl-drop earring of a dandified Elizabethan courtier, was created for Styles by Gucci’s Alessandro Michele, whom he befriended in 2014. Styles, who has subsequently personified the brand as the face of the Gucci fragrance, finds Michele “fearless with his work and his imagination. It’s really inspiring to be around someone who works like that.”

The two first met in London over a cappuccino. “It was just a kind of PR appointment,” says Michele, “but something magical happened, and Harry is now a friend. He has the aura of an English rock-and-roll star—like a young Greek god with the attitude of James Dean and a little bit of Mick Jagger—but no one is sweeter. He is the image of a new era, of the way that a man can look.”

Styles credits his style trans­formation—from Jack Wills tracksuit-clad boy-band heartthrob to nonpareil fashionisto—to his meeting the droll young stylist Harry Lambert seven years ago. They hit it off at once and have conspired ever since, enjoying a playfully campy rapport and calling each other Sue and Susan as they parse the niceties of the scarlet lace Gucci man-bra that Michele has made for Vogue’s shoot, for instance, or a pair of Bode pants hand-painted with biographical images (Styles sent Emily Adams Bode images of his family, and a photograph he had found of David Hockney and Joni Mitchell. “The idea of those two being friends, to me, was really beautiful,” Styles explains).

“He just has fun with clothing, and that’s kind of where I’ve got it from,” says Styles of Lambert. “He doesn’t take it too seriously, which means I don’t take it too seriously.” The process has been evolutionary. At his first meeting with Lambert, the stylist proposed “a pair of flares, and I was like, ‘Flares? That’s fucking crazy,’  ” Styles remembers. Now he declares that “you can never be overdressed. There’s no such thing. The people that I looked up to in music—Prince and David Bowie and Elvis and Freddie Mercury and Elton John—they’re such showmen. As a kid it was completely mind-blowing. Now I’ll put on something that feels really flamboyant, and I don’t feel crazy wearing it. I think if you get something that you feel amazing in, it’s like a superhero outfit. Clothes are there to have fun with and experiment with and play with. What’s really exciting is that all of these lines are just kind of crumbling away. When you take away ‘There’s clothes for men and there’s clothes for women,’ once you remove any barriers, obviously you open up the arena in which you can play. I’ll go in shops sometimes, and I just find myself looking at the women’s clothes thinking they’re amazing. It’s like anything—anytime you’re putting barriers up in your own life, you’re just limiting yourself. There’s so much joy to be had in playing with clothes. I’ve never really thought too much about what it means—it just becomes this extended part of creating something.”

“He’s up for it,” confirms Lambert, who earlier this year, for instance, found a JW Anderson cardigan with the look of a Rubik’s Cube (“on sale at matches.com!”). Styles wore it, accessorized with his own pearl necklace, for a Today rehearsal in February and it went viral: His fans were soon knitting their own versions and posting the results on TikTok. Jonathan Anderson declared himself “so impressed and incredibly humbled by this trend” that he nimbly made the pattern available (complete with a YouTube tutorial) so that Styles’s fans could copy it for free. Meanwhile, London’s storied Victoria & Albert Museum has requested Styles’s original: an emblematic document of how people got creative during the COVID era. “It’s going to be in their permanent collection,” says Lambert exultantly. “Is that not sick? Is that not the most epic thing?”

“It’s pretty powerful and kind of extraordinary to see someone in his position redefining what it can mean to be a man with confidence,” says Olivia Wilde

“To me, he’s very modern,” says Wilde of Styles, “and I hope that this brand of confidence as a male that Harry has—truly devoid of any traces of toxic masculinity—is indicative of his generation and therefore the future of the world. I think he is in many ways championing that, spearheading that. It’s pretty powerful and kind of extraordinary to see someone in his position redefining what it can mean to be a man with confidence.”

“He’s really in touch with his feminine side because it’s something natural,” notes Michele. “And he’s a big inspiration to a younger generation—about how you can be in a totally free playground when you feel comfortable. I think that he’s a revolutionary.”

There are references aplenty in this look by Harris Reed, which features a Victoriana crinoline, 1980s shoulders, and pants of zoot-suit proportions.

STYLES’S confidence is on full display the day after the fitting, which finds us all on the beautiful Sussex dales. Over the summit of the hill, with its trees blown horizontal by the fierce winds, lies the English Channel. Even though it’s a two-hour drive from London, the fresh-faced Styles, who went to bed at 9 p.m., has arrived on set early: He is famously early for everything. The team is installed in a traditional flint-stone barn. The giant doors have been replaced by glass and frame a bucolic view of distant grazing sheep. “Look at that field!” says Styles. “How lucky are we? This is our office! Smell the roses!” Lambert starts to sing “Kumbaya, my Lord.”

Hairdresser Malcolm Edwards is setting Styles’s hair in a Victory roll with silver clips, and until it is combed out he resembles Kathryn Grayson with stubble. His fingers are freighted with rings, and “he has a new army of mini purses,” says Lambert, gesturing to an accessory table heaving with examples including a mini sky-blue Gucci Diana bag discreetly monogrammed HS. Michele has also made Styles a dress for the shoot that Tissot might have liked to paint—acres of ice-blue ruffles, black Valenciennes lace, and suivez-moi, jeune homme ribbons. Erelong, Styles is gamely racing up a hill in it, dodging sheep scat, thistles, and shards of chalk, and striking a pose for Mitchell that manages to make ruffles a compelling new masculine proposition, just as Mr. Fish’s frothy white cotton dress—equal parts Romantic poet and Greek presidential guard—did for Mick Jagger when he wore it for The Rolling Stones’ free performance in Hyde Park in 1969, or as the suburban-mom floral housedress did for Kurt Cobain as he defined the iconoclastic grunge aesthetic. Styles is mischievously singing ABBA’s “Gimme! Gimme! Gimme! (A Man After Midnight)” to himself when Mitchell calls him outside to jump up and down on a trampoline in a Comme des Garçons buttoned wool kilt. “How did it look?” asks his sister when he comes in from the cold. “Divine,” says her brother in playful Lambert-speak.

As the wide sky is washed in pink, orange, and gray, like a Turner sunset, and Mitchell calls it a successful day, Styles is playing “Cherry” from Fine Line on his Fender acoustic on the hilltop. “He does his own stunts,” says his sister, laughing. The impromptu set is greeted with applause. “Thank you, Antwerp!” says Styles playfully, bowing to the crowd. “Thank you, fashion!”

[mikauzoran]

Lukadrien: Zebras Can’t Change Their Stripes: Chapter Four

Read it on AO3: Zebras Can’t Change Their Stripes: Chapter Four

When Adrien woke up, everything smelled fresh and clean, like fabric softener and laundry detergent.

He was warm and dry, and the bed, the covers, and his pyjamas were all comfortable and soft.

He’d been holding his cat plushie, Chat Noir the Third, when he’d fallen asleep, and C3 was still tucked under Adrien’s arm, fur fuzzy against Adrien’s skin.

It was comforting. In a way, it reminded him of Plagg and how they would sometimes snuggle.

Adrien rolled over onto his back and hugged C3 closer.

Grief and joy mingled in Adrien’s chest as he stared up at the clean, white ceiling.

The morning sun was pouring in through Adrien’s windows in a cheerful, inviting way that Adrien had never experienced in his old room with his old windows.

He was safe. He had a home—a real home this time.

It had been eleven years since he had last had a true home…since he’d lost his mother and the mansion had become silent, cold, and empty.

But now Adrien was home and safe and wanted.

He buried his face in C3’s fur, remembering what Luka had told him the previous day: Luka had bought C3 for Adrien so that he would remember he was loved.

It had been a long time since Adrien was last loved, and the prospect of getting something like that back was overwhelming.

He set C3 aside so that he wouldn’t get him dirty as he cried.

He couldn’t pinpoint exactly why he was crying, if it were happiness or sadness or stress, but it felt good to get the emotions out.

When he was done, he sat up, cleaned his face with the tissues on the nightstand, and got out of bed, ready to do his best with the second chance he’d been given.

It felt amazing to get dressed in new, clean clothes with the knowledge that he could throw them in the laundry whenever he felt like it at no charge and that he didn’t have to sleep in them or wear them for multiple days at a time.

It was really nice to have a spacious, private bathroom with a door that locked where he didn’t have to worry about the sanitation.

Well…Luka’s bathroom was currently a mess with toothpaste and shaving cream smudges on the counter and mirror and grooming products left spread out all over the place. Used towels were scattered, crumpled on the floor, and the medicine cabinet was left open.

But Adrien wasn’t necessarily worried, unlike he had been when using other bathrooms where he didn’t even want to think about what kind of germs were growing on surfaces.

Once dressed, Adrien went to Luka’s door and listened for signs that his roommate was awake.

The apartment was still, and Adrien didn’t see any light peeking out from underneath the door, so he assumed that Luka was still sleeping and, instead, made his way to the kitchen.

It was a war zone that had been subsequently ravaged by flood, famine, and pestilence.

It was hard to believe that things could go to ruin in as few as six days, but Adrien was seeing the evidence with his own eyes. Luka was the comparatively neat and tidy Couffaine, but The Breakup had obviously laid him very low indeed.

Dishes were piled high in the sink and crusted with days-old food debris, so Adrien rinsed and scrubbed to the best of his ability before loading them all up in the dishwasher.

Hardly anything in the fridge was worth salvaging.

Adrien got out trash bags from under the sink and started checking dates. He sniffed the items that still resembled food and summarily tossed the ones that were more petri dish than pasta.

He cleared off the counters, sorting the refuse from the misplaced possessions and raided the cabinet below the sink for cleaning supplies.

Once the kitchen was spotless, he expanded his efforts to the living room, picking up the dirty clothes, junk food wrappers, and takeaway containers.

He located the mop, broom, and vacuum cleaner in the coat closet and set about sweeping, reasoning that he would vacuum the rug once Luka was awake so that he didn’t disturb him.

With the living room looking presentable, he gathered up the rubbish, dirty clothes, and items needing to be returned to their respective homes, putting each grouping in their own location to be dealt with later. He then moved on to the bathroom.

By the time he was done tidying and scrubbing, it was midmorning, and he was starting to get kind of hungry. When he’d woken up, he’d still been full from the ridiculous amount of food he’d eaten the day before, but after burning so many calories cleaning, his body was getting ready to eat again.

Luka still hadn’t emerged from his room, so Adrien left a note on the blank page of a sketchbook he had found while cleaning to let Luka know that he hadn’t run away. He was just grocery shopping.

He tore another empty page out of the sketchbook so that he could write up a list of the things he needed from the store.

There was a Monoprix just up the street from the apartment, so it took him less than an hour to walk there, shop, and make it back home again.

He picked up a croissant from the bakery section to snack on as he cooked breakfast but noted that it paled in comparison to what he remembered of those from Tom and Sabine’s.

Adrien was beginning to think that Luka was dead as he plated the food. It was almost noon, and Adrien hadn’t heard a peep.

Luka had looked exhausted the previous day, and he’d mentioned not sleeping well since The Breakup, so maybe he was just catching up on sleep, but Adrien had enough experience with depression to know that it was time to step in and drag his flatmate out of bed.

He knocked on the door, but there was no response.

Taking a deep breath, he turned the knob and discovered it was unlocked.

“Luka, I’m going to be really mad if you’re actually dead,” Adrien grumbled, hesitantly pushing the door open. “Luka?”

Adrien blinked as he got his first glimpse at the inside of Luka’s bedroom.

It was even worse than the rest of the apartment, and that was saying something. Garbage and dirty clothes were strewn everywhere, and the floor was like a minefield of filth.

“Oh, Luka,” Adrien cooed, carefully making his way across the room to the bed. “You’re really hurting, aren’t you?”

Luka snored softly, deaf to Adrien’s sympathy.

“Orpheus.” Adrien kept his voice quiet as he gently shook Luka’s shoulder, not wanting to startle his friend. “Luka? Hey. Wake up.”

Luka drew in a long breath, and his eyes slowly blinked open.

He stared up at Adrien in a daze.

“Angel,” he whispered, reaching out to stroke Adrien’s cheek.

Adrien was torn between enjoying the attention immensely and feeling guilty about it because Luka was obviously still out of it.

“You are not awake,” Adrien chuckled, carefully removing Luka’s palm from his face. “Earth to Luka. Come in, Luka.”

Luka gave a jolt as he blinked and his eyes came into focus. “Oh my gosh. Adrien. Sorry. Hi. What’s wrong? Did you need something?”

“It’s breakfast time. Get up,” Adrien teased, tugging on Luka’s arm lightly.

Luka cursed under his breath. “I am so sorry. Give me just a minute and I’ll go to the grocery store and then make you some breakfast.”

Adrien snorted in laughter. “No need. It is I who have made you breakfast. Come eat before it gets cold.”

Luka blinked at Adrien. “You what?”

“I made omuraisu,” Adrien explained with a pleased smile.

“You what?” Luka repeated, wondering if his ears were failing him.

His Adrien didn’t cook.

“I’m twenty-four,” Adrien enunciated. “I make my own breakfast. Now, get up or I’m seriously climbing in bed with you and pushing you out.”

“…You made breakfast?” Luka echoed in disbelief as he followed Adrien toward the door.

“Yep,” Adrien confirmed with a pop to the p. “I’ve worked in a lot of kitchens these past few years. The chefs taught me some things.”

They stepped out into the living room, and Luka had to do a doubletake. “Faeries came during the night and cleaned the apartment.”

Adrien cracked up. “I mean…it’s not like this is the first time someone’s ever called me a faerie, but…I prefer the term ‘knight in leather armor’.”

Luka gawked at Adrien. “You cleaned the apartment?”

His Adrien wouldn’t know what to do with a broom if his life depended on it…unless he needed to use the broom as a weapon. His Adrien had that covered, but to use a broom for its intended purpose…

Adrien came to a stop in the kitchen, pushing one of the plates of omuraisu towards Luka.

“Surprise,” he announced softly, a sad expression in his eyes that made him look older than Luka had ever remembered. “I’m a functional, responsible adult now too.”

“Yeah,” Luka breathed, looking at Adrien with new eyes. “You went and grew up on me, didn’t you?”

He pulled Adrien into a tight hug, and Adrien squeezed back.

“I had to get it together pretty quickly,” Adrien confessed bitterly. “I cook, clean, do laundry… I even scrub toilets now.”

Luka pulled back, looking mortified. “Please tell me you didn’t clean the bathroom.”

“It wasn’t that bad,” Adrien assured.

Luka dropped his forehead to Adrien’s shoulder and let out an animalistic groan. “I am so, so sorry. I swear I was going to clean everything today.”

“I know. I believed you when you kept telling me so last night,” Adrien informed. “It was just that you were completely wiped out, and I saw an opportunity to be helpful.”

Adrien took Luka’s face in his hands and tipped it up to look him in the eye. “This isn’t like before when I’d sneak out and come visit you when I was upset. I may still be a mess, but you’re a wreck too at the moment, and, now, I’m able to help and support you too.”

“Don’t sound so pleased about me being a disaster,” Luka chuckled, horrified and amused all at once.

“I promise I’m not. I’m just glad that I can finally do something for you after all you’ve done for me.” Adrien gave Luka a sincere smile and then stepped back to focus on his food. “Eat your breakfast already.”

Luka sighed, resigning himself to this alternate universe where his Adrien was fully capable of taking care of himself.

“Thank you,” he stressed, digging into the omuraisu. “…Geez, this is good!”

Adrien smirked around his fork. “Told you so.”

“What else can you make?” Luka wondered through a mouthful of rice and egg.

“I specialize in ethnic food,” Adrien preened. “I do desserts passably too, so maybe tomorrow I can make tiramisu and chickpea coconut cashew curry.”

Luka bit his tongue to stop himself from confessing his eternal love to Adrien because it was way too soon after The Breakup to be developing feelings for anyone. Besides, Adrien was vulnerable; Luka would be taking advantage of Adrien’s dependency on him if he made any kind of move.

He never wanted Adrien to feel pressured into anything for fear of winding up back on the street again.

Instead of the declaration of love, Luka smiled gratefully. “I’m really, really glad you came back into my life yesterday.”

Adrien paused, looking taken aback for a moment, his fork pausing halfway to his mouth. “You like curry that much?”

“It’s not just about the curry,” Luka chuckled. “Thank you for all of this.”

“Sure.” Adrien returned the smile with a grin full of pride. “I’m not even done yet. I still have your room to clean.”

“No,” Luka groaned. “I can clean my own room.”

“I’m sure you can, but I’m going to help you,” Adrien informed in a tone that told Luka he would not be backing down. “You can tell me what you don’t want me touching, but I can at least help sort the trash from the dirty clothes from the dishes from the stuff that just needs to be put away.”

“I will consider letting you help,” Luka conceded through gritted teeth.

“Perfect!” Adrien chirped cheerily. “…So, I didn’t start any laundry yet because I wasn’t sure what your preferences were, but this evening after we sort through the stuff in your room, you can tell me how you want your laundry done, and I can work on that while you hide your dirty magazines or whatever.”

Luka rolled his eyes. He was pretty sure that Adrien remembered that Luka was demi and didn’t experience sexual attraction unless he had a strong emotional connection with someone and, therefore, had no need for dirty magazines. They’d talked a lot about sexuality when Adrien was sixteen/seventeen and trying to figure things out. Adrien didn’t have trusted adults to talk to, and Luka was actually really honored that Adrien had come to him.

“I will consider letting you help with laundry,” Luka repeated with a shake of his head.

“Great. So…status update,” Adrien prattled right along, leaning his forearms on the counter as he consumed his omuraisu. “I gathered all the trash and piled it up in bags by the door because I didn’t know what the building’s trash collection procedure was.”

“We can take it down to the dumpster on our way out the door to band practice,” Luka replied.

“Cool.” Adrien nodded, taking in the information. “I also piled all the clothing articles in two heaps over by the couch….” He hesitated, biting his bottom lip. “…Not all of the clothes are yours. I can wash them and fold them up in a trash bag so you don’t have to see them, if you’d like.”

Luka winced. “…I don’t know right now. Sorry.”

“That’s okay,” Adrien rushed to assure. “I’ll just go ahead and do that, and then you can deal with them whenever you’re ready.”

“I really hope there wasn’t anything too embarrassing,” Luka groaned.

Adrien grimaced. “You both have impeccable taste in underwear?”

“I want to die,” Luka replied with an ironic smile.

“It seriously wasn’t a big deal,” Adrien stressed. “…Though, I wasn’t able to determine as easily what was yours as far as possessions go, so I just lined them up neatly against the wall out of the way. I hope that was okay? You don’t have to go through them anytime soon. They can just wait until you’re ready.”

Luka reached out and rested a hand on Adrien’s bicep. “Thank you.”

Adrien placed his hand over Luka’s and smiled. “What are friends for?”

“For times like this,” Luka hummed, feeling blessed.

There was a beat, and then Adrien went back to his status update. “I cleaned out the fridge and went shopping for the essentials, but we’ll need to shop again tonight or tomorrow for the rest of the week. Also, I bought a cheap rice cooker. I hope that’s okay. I had a rice cooker up until a few months ago, and I used to cook all kinds of things in it. I can do a lot with a rice cooker.”

Luka grinned, watching Adrien fondly as he animatedly recounted his rice cooker culinary adventures.

Adrien had slipped so easily into Luka’s life, making himself indispensable in less than twenty-four hours. It left Luka wondering what he’d been doing without Adrien for the past four years.

 “Émile!” Josie cried, sprinting across the bar and enveloping Adrien in a fierce hug.

Luka, smiling fondly, stepped around them and went over to get the things he’d left with Jacob the previous day from the bassist. “Glad to know I mean nothing to you, Josie.”

Josie ignored Luka, focusing all of her enthusiasm on Adrien. “Look at you! You clean up nice, Kid! Look at your little baby face! You are the cutest thing. I missed you so much.”

“I missed you too, Josie,” Adrien chuckled, hugging her back with genuine affection.

Luka couldn’t stop grinning because Adrien was adorable. He got attached to people so quickly.

Jacob looked back and forth between Luka and Adrien and quirked an eyebrow quizzically. “You two came together?” he whispered so only Luka would hear.

“He’s actually my roommate now,” Luka confessed, wanting to get this conversation over sooner rather than later.

Jacob’s eyes bugged out. “Dude. You work fast,” he hissed. “You’re already shacked up?”

“No.” Luka winced. “It’s not like that. It’s completely platonic. He just needed a place to stay.”

Jacob nodded, not believing that for a second. “Right.”

“Émile!” Marc greeted, leaving his guitar propped against his keyboard on stage to go give Adrien a hug. “Hey, Kiddo. I did get your text with your phone number. Sorry I didn’t text back. I read it right away, but I was in the middle of burning food, and I completely forgot.”

“No worries,” Adrien assured, returning the hug and absolutely loving it. “So long as you got the message.”

Luka promptly shoved down the little niggling of jealousy that sprouted up at seeing Adrien being affectionate with another guy.

Josie quickly distracted him as she came over and hung off of his shoulder. “You don’t look like crap today.”

“Thank you?” Luka frowned, trying to decide whether to be insulted.

“He said Émile needed a place to stay, so he moved in with him yesterday,” Jacob reported, looking at Josie expectantly.

Josie’s eyes went wide. “Wow. Very opportunist. You get any yet?”

Luka swatted her away. “It’s platonic. I just broke up with The Girl, guys. I am not jumping into anything for a very long time.”

“Are you trying to say that my baby brother isn’t good enough for you to seduce?” Josie snorted, doing a very good job of actually looking offended.

Luka threw his hands up in frustration. “You know, I was having a good day until I had to deal with you two clowns.”

“Émile!” Jacob waved as Adrien and Marc came over to join them. “Sup, Kid?” He opened his arms for a hug which Adrien readily gave.

“Hey, Jacob.” Adrien smiled nervously as he pulled back, reaching up to rub at his neck. “I actually have something I need to tell everyone.”

The band’s expressions suddenly went serious.

“What’s up, Émile?” Josie prompted gently.

Adrien took a deep breath. “That isn’t actually my real name.”

Luka’s eyes widened, and he reached out to rest a hand on Adrien’s shoulder. “You sure you’re ready to do this now?”

Adrien nodded. “Yeah. They’ve shown me nothing but kindness. I don’t want to lie to them.”

“Is your real name ‘Adrien’?” Marc inquired.

Everyone looked to him in surprise.

Adrien blinked. “You knew?”

Josie and Jacob turned to Marc with twin frowns.

“How’d you know that?” Jacob demanded.

Marc shook his head. “I wasn’t sure. I just thought you kind of looked like the billboards I used to see all the time.”

“Billboards?” Josie echoed, arching an eyebrow.

“My name is really Adrien,” Adrien confessed. “Adrien Agreste.”

Jacob blinked. “That…sounds familiar?”

“I used to be a model,” Adrien elaborated. “Especially about ten years ago my face was on everything. You couldn’t get away from the advertisements if you tried…. I’m also known more notoriously as Gabriel Agreste’s son,” Adrien informed, gaze directed intently down at his shoes. “You know. Papillon.”

Jacob promptly pushed Luka out of the way and wrapped his arms around Adrien, announcing, “Just so you all know, this is mine now.”

“I don’t think so,” Josie huffed, coming to join the puppy pile. “I saw him first, but if I get caught when I sneak into jail to assassinate his father, you’d sure as hell better take care of him for me.”

She turned to Adrien (who looked very, very confused).

“You’re adopted,” she declared, her voice just on the right side of calm even as it came out clipped and furious. “There’s no way you’re actually related to that slimewad. He akumatized my little sister when she was being bullied, and there is no way you’re related to him. Besides, like I keep saying, we are officially adopting you now.”

Marc reached out a hand to rest on Adrien’s shoulder. “We’re here for you. Promise.”

“People…don’t usually react like that,” Adrien hiccupped. “They usually want nothing to do with me when they find out who I am.”

“People suck,” Jacob reported. “Obviously, they didn’t put much effort into finding out who you really are because, if they had, they would have discovered that you’re a precious baby who deserves to be loved and protected.”

Adrien turned to Luka with a watery smile. “You pick good people.”

Luka grinned. “I picked you, didn’t I?”

The whole group besides Adrien groaned.

Adrien only smiled.

“…So why ‘Émile Dupain’?” Josie inquired as they slowly pulled away.

“‘Émile’ is actually my second name,” Adrien explained. “I was named after my mom.”

Everyone nodded, making cooing, “that’s so sweet” noises.

“‘Dupain’ I stole from a friend,” he confessed with a blush that made Luka narrow his eyes. “It was the most common surname out of all of my friends, so… Plus, it was like taking a little piece of home with me while I roamed around.”

They all cooed again.

“Wait. Hold up.” Jacob turned and pointed to Luka just as the conversation was about to shift. “He’s not surprised about any of this. Did you tell him already yesterday?”

Adrien bit his lip, smiling guiltily. “I’ve known Luka for about a decade now, actually. I didn’t recognize him yesterday until we were outside on the street, though. He still had blue hair when I last saw him.”

“Man, I dated him when he had the blue hair,” Jacob sighed, shaking his head. “I wouldn’t have let him go so easily if I had known the black hair upgrade was coming.”

“Hey,” Luka grumbled. “I looked good with blue hair. It went with my eyes.”

“I actually think the black offsets your eyes better,” Adrien hummed thoughtfully. “The black makes the blue pop. I like it like this.”

Luka’s brain broke. “O-Oh? You think so?”

Marc put a hand over his mouth, holding in a laugh. “He’s never going to dye his hair again.”

Josie opened her mouth to quip, but then she caught the soft, warm, gooey way Luka was looking at Adrien.

She sucked in a sharp breath. “Holy crap! He’s Adrien!”

Adrien gave a start, suddenly very worried. “Uh…yes? I thought…that was okay?”

She waved her arms, shooing away his concerns. “No. The thing with your father is fine. I meant that you’re Adrien. Luka’s Adrien!”

Jacob’s jaw dropped. “He’s The Boy!?”

Adrien looked to Luka for reassurance, quite obviously anxious at something he had no way of understanding.

Luka grimaced and wrapped a comforting arm around Adrien’s shoulders. “Yes,” he said pointedly. “He’s the dear friend I’ve mentioned many times to you.”

Jacob scoffed under his breath at that.

Marc decided to stay out of it.

“I really was worried about you while you were away,” Luka explained to Adrien. “I may have been a little preoccupied.”

Slowly, Adrien began to nod, thinking he understood. “Sorry again for worrying you.”

“He survived,” Marc assured, beckoning Adrien over to the stage. “He was a real mess for a while, though.”

Josie hung back, giving Luka a skeptical look. “You moved in with The Boy a week after breaking up with The Girl?”

Luka shrugged helplessly. “It’s platonic.”

“You make questionable life decisions,” Jacob snorted. “You’re screwed.”

“He’s going to wish he were,” Josie sighed. “Does your sister know that you’ve set yourself up for total emotional annihilation by platonically moving in with The Boy a week after your breakup with The Girl?”

“Adrien isn’t ready to tell people he’s back in Paris yet, so don’t you dare say anything to Juleka,” Luka growled protectively, getting his friends’ attention.

They shared a look and then held their hands up in surrender.

“We’re just worried about you, Dude,” Jacob clarified sympathetically.

Luka sighed, all the hot air coming out of him. “I’m kind of worried about me too,” he confessed.

[hlupdate]

THE MEN’S BATHING POND in London’s Hampstead Heath at daybreak on a gloomy September morning seemed such an unlikely locale for my first meeting with Harry Styles, music’s legendarily charm-heavy style czar, that I wondered perhaps if something had been lost in translation.

But then there is Styles, cheerily gung ho, hidden behind a festive yellow bandana mask and a sweatshirt of his own design, surprisingly printed with three portraits of his intellectual pinup, the author Alain de Botton. “I love his writing,” says Styles. “I just think he’s brilliant. I saw him give a talk about the keys to happiness, and how one of the keys is living among friends, and how real friendship stems from being vulnerable with someone.”

In turn, de Botton’s 2016 novel The Course of Love taught Styles that “when it comes to relationships, you just expect yourself to be good at it…[but] being in a real relationship with someone is a skill,” one that Styles himself has often had to hone in the unforgiving klieg light of public attention, and in the company of such high-profile paramours as Taylor Swift and—well, Styles is too much of a gentleman to name names.

That sweatshirt and the Columbia Records tracksuit bottoms are removed in the quaint wooden open-air changing room, with its Swallows and Amazons vibe. A handful of intrepid fellow patrons in various states of undress are blissfully unaware of the 26-year-old supernova in their midst, although I must admit I’m finding it rather difficult to take my eyes off him, try as I might. Styles has been on a six-day juice cleanse in readiness for Vogue’s photographer Tyler Mitchell. He practices Pilates (“I’ve got very tight hamstrings—trying to get those open”) and meditates twice a day. “It has changed my life,” he avers, “but it’s so subtle. It’s helped me just be more present. I feel like I’m able to enjoy the things that are happening right in front of me, even if it’s food or it’s coffee or it’s being with a friend—or a swim in a really cold pond!” Styles also feels that his meditation practices have helped him through the tumult of 2020: “Meditation just brings a stillness that has been really beneficial, I think, for my mental health.”

Styles has been a pescatarian for three years, inspired by the vegan food that several members of his current band prepared on tour. “My body definitely feels better for it,” he says. His shapely torso is prettily inscribed with the tattoos of a Victorian sailor—a rose, a galleon, a mermaid, an anchor, and a palm tree among them, and, straddling his clavicle, the dates 1967 and 1957 (the respective birth years of his mother and father). Frankly, I rather wish I’d packed a beach muumuu.

We take the piratical gangplank that juts into the water and dive in. Let me tell you, this is not the Aegean. The glacial water is a cloudy phlegm green beneath the surface, and clammy reeds slap one’s ankles. Styles, who admits he will try any fad, has recently had a couple of cryotherapy sessions and is evidently less susceptible to the cold. By the time we have swum a full circuit, however, body temperatures have adjusted, and the ice, you might say, has been broken. Duly invigorated, we are ready to face the day. Styles has thoughtfully brought a canister of coffee and some bottles of water in his backpack, and we sit at either end of a park bench for a socially distanced chat.

It seems that he has had a productive year. At the onset of lockdown, Styles found himself in his second home, in the canyons of Los Angeles. After a few days on his own, however, he moved in with a pod of three friends (and subsequently with two band members, Mitch Rowland and Sarah Jones). They “would put names in a hat and plan the week out,” Styles explains. “If you were Monday, you would choose the movie, dinner, and the activity for that day. I like to make soups, and there was a big array of movies; we went all over the board,” from Goodfellas to Clueless. The experience, says Styles, “has been a really good lesson in what makes me happy now. It’s such a good example of living in the moment. I honestly just like being around my friends,” he adds. “That’s been my biggest takeaway. Just being on my own the whole time, I would have been miserable.”

Styles is big on friendship groups and considers his former and legendarily hysteria-inducing boy band, One Direction, to have been one of them. “I think the typical thing is to come out of a band like that and almost feel like you have to apologize for being in it,” says Styles. “But I loved my time in it. It was all new to me, and I was trying to learn as much as I could. I wanted to soak it in…. I think that’s probably why I like traveling now—soaking stuff up.” In a post-COVID future, he is contemplating a temporary move to Tokyo, explaining that “there’s a respect and a stillness, a quietness that I really loved every time I’ve been there.”

In 1D, Styles was making music whenever he could. “After a show you’d go in a hotel room and put down some vocals,” he recalls. As a result, his first solo album, 2017’s Harry Styles, “was when I really fell in love with being in the studio,” he says. “I loved it as much as touring.” Today he favors isolating with his core group of collaborators, “our little bubble”—Rowland, Kid Harpoon (né Tom Hull), and Tyler Johnson. “A safe space,” as he describes it.

In the music he has been working on in 2020, Styles wants to capture the experimental spirit that informed his second album, last year’s Fine Line. With his debut album, “I was very much finding out what my sound was as a solo artist,” he says. “I can see all the places where it almost felt like I was bowling with the bumpers up. I think with the second album I let go of the fear of getting it wrong and…it was really joyous and really free. I think with music it’s so important to evolve—and that extends to clothes and videos and all that stuff. That’s why you look back at David Bowie with Ziggy Stardust or the Beatles and their different eras—that fearlessness is super inspiring.”

The seismic changes of 2020—including the Black Lives Matter uprising around racial justice—has also provided Styles with an opportunity for personal growth. “I think it’s a time for opening up and learning and listening,” he says. “I’ve been trying to read and educate myself so that in 20 years I’m still doing the right things and taking the right steps. I believe in karma, and I think it’s just a time right now where we could use a little more kindness and empathy and patience with people, be a little more prepared to listen and grow.”

Meanwhile, Styles’s euphoric single “Watermelon Sugar” became something of an escapist anthem for this dystopian summer of 2020. The video, featuring Styles (dressed in ’70s-­flavored Gucci and Bode) cavorting with a pack of beach-babe girls and boys, was shot in January, before lockdown rules came into play. By the time it was ready to be released in May, a poignant epigraph had been added: “This video is dedicated to touching.”

Styles is looking forward to touring again, when “it’s safe for everyone,” because, as he notes, “being up against people is part of the whole thing. You can’t really re-create it in any way.” But it hasn’t always been so. Early in his career, Styles was so stricken with stage fright that he regularly threw up preperformance. “I just always thought I was going to mess up or something,” he remembers. “But I’ve felt really lucky to have a group of incredibly generous fans. They’re generous emotionally—and when they come to the show, they give so much that it creates this atmosphere that I’ve always found so loving and accepting.”

THIS SUMMER, when it was safe enough to travel, Styles returned to his London home, which is where he suggests we head now, setting off in his modish Primrose Yellow ’73 Jaguar that smells of gasoline and leatherette. “Me and my dad have always bonded over cars,” Styles explains. “I never thought I’d be someone who just went out for a leisurely drive, purely for enjoyment.” On sleepless jet-lagged nights he’ll drive through London’s quiet streets, seeing neighborhoods in a new way. “I find it quite relaxing,” he says.

Over the summer Styles took a road trip with his artist friend Tomo Campbell through France and Italy,setting off at four in the morning and spending the night in Geneva, where they jumped in the lake “to wake ourselves up.” (I see a pattern emerging.) At the end of the trip Styles drove home alone, accompanied by an upbeat playlist that included “Aretha Franklin, Parliament, and a lot of Stevie Wonder. It was really fun for me,” he says. “I don’t travel like that a lot. I’m usually in such a rush, but there was a stillness to it. I love the feeling of nobody knowing where I am, that kind of escape...and freedom.”

GROWING UP in a village in the North of England, Styles thought of London as a world apart: “It truly felt like a different country.” At a wide-eyed 16, he came down to the teeming metropolis after his mother entered him on the U.K. talent-search show The X Factor. “I went to the audition to find out if I could sing,” Styles recalls, “or if my mum was just being nice to me.” Styles was eliminated but subsequently brought back with other contestants—Niall Horan, Liam Payne, Louis Tomlinson, and Zayn Malik—to form a boy band that was named (on Styles’s suggestion) One Direction. The wily X Factor creator and judge, Simon Cowell, soon signed them to his label Syco Records, and the rest is history: 1D’s first four albums, supported by four world tours from 2011 to 2015, debuted at number one on the U.S. Billboardcharts, and the band has sold 70 million records to date. At 18, Styles bought the London house he now calls home. “I was going to do two weeks’ work to it,” he remembers, “but when I came back there was no second floor,” so he moved in with adult friends who lived nearby till the renovation was complete. “Eighteen months,” he deadpans. “I’ve always seen that period as pretty pivotal for me, as there’s that moment at the party where it’s getting late, and half of the people would go upstairs to do drugs, and the other people go home. I was like, ‘I don’t really know this friend’s wife, so I’m not going to get all messy and then go home.’ I had to behave a bit, at a time where everything else about my life felt I didn’t have to behave really. I’ve been lucky to always feel I have this family unit somewhere.”

When Styles’s London renovation was finally done, “I went in for the first time and I cried,” he recalls. “Because I just felt like I had somewhere. L.A. feels like holiday, but this feels like home.”

“There’s so much joy to be had in playing with clothes. I’ve never thought too much about what it means—it just becomes this extended part of creating something”

Behind its pink door, Styles’s house has all the trappings of rock stardom—there’s a man cave filled with guitars, a Sex Pistols Never Mind the Bollocks poster (a moving-in gift from his decorator), a Stevie Nicksalbum cover. Fleetwood Mac’s “Dreams” was one of the first songs he knew the words to—“My parents were big fans”—and he and Nicks have formed something of a mutual-admiration society. At the beginning of lockdown, Nicks tweeted to her fans that she was taking inspiration from Fine Line: “Way to go, H,” she wrote. “It is your Rumours.” “She’s always there for you,” said Styles when he inducted Nicks into the Rock & Roll Hall of Fame in 2019. “She knows what you need—advice, a little wisdom, a blouse, a shawl; she’s got you covered.”

Styles makes us some tea in the light-filled kitchen and then wanders into the convivial living room, where he strikes an insouciant pose on the chesterfield sofa, upholstered in a turquoise velvet that perhaps not entirely coincidentally sets off his eyes. Styles admits that his lockdown lewk was “sweatpants, constantly,” and he is relishing the opportunity to dress up again. He doesn’t have to wait long: The following day, under the eaves of a Victorian mansion in Notting Hill, I arrive in the middle of fittings for Vogue’s shoot and discover Styles in his Y-fronts, patiently waiting to try on looks for fashion editor Camilla Nickerson and photographer Tyler Mitchell. Styles’s personal stylist, Harry Lambert, wearing a pearl necklace and his nails colored in various shades of green varnish, à la Sally Bowles, is providing helpful backup (Britain’s Rule of Six hasn’t yet been imposed).

Styles, who has thoughtfully brought me a copy of de Botton’s 2006 book The Architecture of Happiness,is instinctively and almost quaintly polite, in an old-fashioned, holding-open-doors and not-mentioning-lovers-by-name sort of way. He is astounded to discover that the Atlanta-born Mitchell has yet to experience a traditional British Sunday roast dinner. Assuring him that “it’s basically like Thanksgiving every Sunday,” Styles gives Mitchell the details of his favorite London restaurants in which to enjoy one. “It’s a good thing to be nice,” Mitchell tells me after a morning in Styles’s company.

MITCHELL has Lionel Wendt’s languorously homoerotic 1930s portraits of young Sri Lankan men on his mood board. Nickerson is thinking of Irving Penn’s legendary fall 1950 Paris haute couture collections sitting, where he photographed midcentury supermodels, including his wife, Lisa Fonssagrives, in high-style Dior and Balenciaga creations. Styles is up for all of it, and so, it would seem, is the menswear landscape of 2020: Jonathan Anderson has produced a trapeze coat anchored with a chunky gold martingale; John Galliano at Maison Margiela has fashioned a khaki trench with a portrait neckline in layers of colored tulle; and Harris Reed—a Saint Martins fashion student sleuthed by Lambert who ended up making some looks for Styles’s last tour—has spent a week making a broad-shouldered Smoking jacket with high-waisted, wide-leg pants that have become a Styles signature since he posed for Tim Walker for the cover of Fine Line wearing a Gucci pair—a silhouette that was repeated in the tour wardrobe. (“I liked the idea of having that uniform,” says Styles.) Reed’s version is worn with a hoopskirt draped in festoons of hot-pink satin that somehow suggests Deborah Kerr asking Yul Brynner’s King of Siam, “Shall we dance?”

Styles introduces me to the writer and eyewear designer Gemma Styles, “my sister from the same womb,” he says. She is also here for the fitting: The siblings plan to surprise their mother with the double portrait on these pages.

I ask her whether her brother had always been interested in clothes.

“My mum loved to dress us up,” she remembers. “I always hated it, and Harry was always quite into it. She did some really elaborate papier-mâché outfits: She made a giant mug and then painted an atlas on it, and that was Harry being ‘The World Cup.’ Harry also had a little dalmatian-dog outfit,” she adds, “a hand-me-down from our closest family friends. He would just spend an inordinate amount of time wearing that outfit. But then Mum dressed me up as Cruella de Vil. She was always looking for any opportunity!”

“As a kid I definitely liked fancy dress,” Styles says. There were school plays, the first of which cast him as Barney, a church mouse. “I was really young, and I wore tights for that,” he recalls. “I remember it was crazy to me that I was wearing a pair of tights. And that was maybe where it all kicked off!”

Acting has also remained a fundamental form of expression for Styles. His sister recalls that even on the eve of his life-changing X Factor audition, Styles could sing in public only in an assumed voice. “He used to do quite a good sort of Elvis warble,” she remembers. During the rehearsals in the family home, “he would sing in the bathroom because if it was him singing as himself, he just couldn’t have anyone looking at him! I love his voice now,” she adds. “I’m so glad that he makes music that I actually enjoy listening to.”

Styles’s role-playing continued soon after 1D went on permanent hiatus in 2016, and he was cast in Christopher Nolan’s Dunkirk, beating out dozens of professional actors for the role. “The good part was my character was a young soldier who didn’t really know what he was doing,” says Styles modestly. “The scale of the movie was so big that I was a tiny piece of the puzzle. It was definitely humbling. I just loved being outside of my comfort zone.”

His performance caught the eye of Olivia Wilde, who remembers that it “blew me away—the openness and commitment.” In turn, Styles loved Wilde’s directorial debut, Booksmart, and is “very honored” that she cast him in a leading role for her second feature, a thriller titled Don’t Worry Darling, which went into production this fall. Styles will play the husband to Florence Pugh in what Styles describes as “a 1950s utopia in the California desert.”

Wilde’s movie is costumed by Academy Award nominee Arianne Phillips. “She and I did a little victory dance when we heard that we officially had Harry in the film,” notes Wilde, “because we knew that he has a real appreciation for fashion and style. And this movie is incredibly stylistic. It’s very heightened and opulent, and I’m really grateful that he is so enthusiastic about that element of the process—some actors just don’t care.”

“I like playing dress-up in general,” Styles concurs, in a masterpiece of understatement: This is the man, after all, who cohosted the Met’s 2019 “Notes on Camp” gala attired in a nipple-freeing black organza blouse with a lace jabot, and pants so high-waisted that they cupped his pectorals. The ensemble, accessorized with the pearl-drop earring of a dandified Elizabethan courtier, was created for Styles by Gucci’s Alessandro Michele, whom he befriended in 2014. Styles, who has subsequently personified the brand as the face of the Gucci fragrance, finds Michele “fearless with his work and his imagination. It’s really inspiring to be around someone who works like that.”

The two first met in London over a cappuccino. “It was just a kind of PR appointment,” says Michele, “but something magical happened, and Harry is now a friend. He has the aura of an English rock-and-roll star—like a young Greek god with the attitude of James Dean and a little bit of Mick Jagger—but no one is sweeter. He is the image of a new era, of the way that a man can look.”

Styles credits his style trans­formation—from Jack Wills tracksuit-clad boy-band heartthrob to nonpareil fashionisto—to his meeting the droll young stylist Harry Lambert seven years ago. They hit it off at once and have conspired ever since, enjoying a playfully campy rapport and calling each other Sue and Susan as they parse the niceties of the scarlet lace Gucci man-bra that Michele has made for Vogue’s shoot, for instance, or a pair of Bode pants hand-painted with biographical images (Styles sent Emily Adams Bode images of his family, and a photograph he had found of David Hockney and Joni Mitchell. “The idea of those two being friends, to me, was really beautiful,” Styles explains).

“He just has fun with clothing, and that’s kind of where I’ve got it from,” says Styles of Lambert. “He doesn’t take it too seriously, which means I don’t take it too seriously.” The process has been evolutionary. At his first meeting with Lambert, the stylist proposed “a pair of flares, and I was like, ‘Flares? That’s fucking crazy,’  ” Styles remembers. Now he declares that “you can never be overdressed. There’s no such thing. The people that I looked up to in music—Prince and David Bowie and Elvis and Freddie Mercury and Elton John—they’re such showmen. As a kid it was completely mind-blowing. Now I’ll put on something that feels really flamboyant, and I don’t feel crazy wearing it. I think if you get something that you feel amazing in, it’s like a superhero outfit. Clothes are there to have fun with and experiment with and play with. What’s really exciting is that all of these lines are just kind of crumbling away. When you take away ‘There’s clothes for men and there’s clothes for women,’ once you remove any barriers, obviously you open up the arena in which you can play. I’ll go in shops sometimes, and I just find myself looking at the women’s clothes thinking they’re amazing. It’s like anything—anytime you’re putting barriers up in your own life, you’re just limiting yourself. There’s so much joy to be had in playing with clothes. I’ve never really thought too much about what it means—it just becomes this extended part of creating something.”

“He’s up for it,” confirms Lambert, who earlier this year, for instance, found a JW Anderson cardigan with the look of a Rubik’s Cube (“on sale at matches.com!”). Styles wore it, accessorized with his own pearl necklace, for a Today rehearsal in February and it went viral: His fans were soon knitting their own versions and posting the results on TikTok. Jonathan Anderson declared himself “so impressed and incredibly humbled by this trend” that he nimbly made the pattern available (complete with a YouTube tutorial) so that Styles’s fans could copy it for free. Meanwhile, London’s storied Victoria & Albert Museum has requested Styles’s original: an emblematic document of how people got creative during the COVID era. “It’s going to be in their permanent collection,” says Lambert exultantly. “Is that not sick? Is that not the most epic thing?”

“It’s pretty powerful and kind of extraordinary to see someone in his position redefining what it can mean to be a man with confidence,” says Olivia Wilde

“To me, he’s very modern,” says Wilde of Styles, “and I hope that this brand of confidence as a male that Harry has—truly devoid of any traces of toxic masculinity—is indicative of his generation and therefore the future of the world. I think he is in many ways championing that, spearheading that. It’s pretty powerful and kind of extraordinary to see someone in his position redefining what it can mean to be a man with confidence.”

“He’s really in touch with his feminine side because it’s something natural,” notes Michele. “And he’s a big inspiration to a younger generation—about how you can be in a totally free playground when you feel comfortable. I think that he’s a revolutionary.”

STYLES’S confidence is on full display the day after the fitting, which finds us all on the beautiful Sussex dales. Over the summit of the hill, with its trees blown horizontal by the fierce winds, lies the English Channel. Even though it’s a two-hour drive from London, the fresh-faced Styles, who went to bed at 9 p.m., has arrived on set early: He is famously early for everything. The team is installed in a traditional flint-stone barn. The giant doors have been replaced by glass and frame a bucolic view of distant grazing sheep. “Look at that field!” says Styles. “How lucky are we? This is our office! Smell the roses!” Lambert starts to sing “Kumbaya, my Lord.”

Hairdresser Malcolm Edwards is setting Styles’s hair in a Victory roll with silver clips, and until it is combed out he resembles Kathryn Grayson with stubble. His fingers are freighted with rings, and “he has a new army of mini purses,” says Lambert, gesturing to an accessory table heaving with examples including a mini sky-blue Gucci Diana bag discreetly monogrammed HS. Michele has also made Styles a dress for the shoot that Tissot might have liked to paint—acres of ice-blue ruffles, black Valenciennes lace, and suivez-moi, jeune homme ribbons. Erelong, Styles is gamely racing up a hill in it, dodging sheep scat, thistles, and shards of chalk, and striking a pose for Mitchell that manages to make ruffles a compelling new masculine proposition, just as Mr. Fish’s frothy white cotton dress—equal parts Romantic poet and Greek presidential guard—did for Mick Jagger when he wore it for The Rolling Stones’ free performance in Hyde Park in 1969, or as the suburban-mom floral housedress did for Kurt Cobain as he defined the iconoclastic grunge aesthetic. Styles is mischievously singing ABBA’s “Gimme! Gimme! Gimme! (A Man After Midnight)” to himself when Mitchell calls him outside to jump up and down on a trampoline in a Comme des Garçons buttoned wool kilt. “How did it look?” asks his sister when he comes in from the cold. “Divine,” says her brother in playful Lambert-speak.

As the wide sky is washed in pink, orange, and gray, like a Turner sunset, and Mitchell calls it a successful day, Styles is playing “Cherry” from Fine Line on his Fender acoustic on the hilltop. “He does his own stunts,” says his sister, laughing. The impromptu set is greeted with applause. “Thank you, Antwerp!” says Styles playfully, bowing to the crowd. “Thank you, fashion!”

[transparenttriumphzombie]

Harry Styles On Vogue

Source:

 https://www.vogue.com/article/harry-styles-cover-december-2020/amp?__twitter_impression=true

From Vogue MAGAZINE

Playtime With Harry Styles

THE MEN’S BATHING POND in London’s Hampstead Heath at daybreak on a gloomy September morning seemed such an unlikely locale for my first meeting with Harry Styles, music’s legendarily charm-heavy style czar, that I wondered perhaps if something had been lost in translation.

But then there is Styles, cheerily gung ho, hidden behind a festive yellow bandana mask and a sweatshirt of his own design, surprisingly printed with three portraits of his intellectual pinup, the author Alain de Botton. “I love his writing,” says Styles. “I just think he’s brilliant. I saw him give a talk about the keys to happiness, and how one of the keys is living among friends, and how real friendship stems from being vulnerable with someone.”

In turn, de Botton’s 2016 novel The Course of Love taught Styles that “when it comes to relationships, you just expect yourself to be good at it…[but] being in a real relationship with someone is a skill,” one that Styles himself has often had to hone in the unforgiving klieg light of public attention, and in the company of such high-profile paramours as Taylor Swift and—well, Styles is too much of a gentleman to name names.

That sweatshirt and the Columbia Records tracksuit bottoms are removed in the quaint wooden open-air changing room, with its Swallows and Amazons vibe. A handful of intrepid fellow patrons in various states of undress are blissfully unaware of the 26-year-old supernova in their midst, although I must admit I’m finding it rather difficult to take my eyes off him, try as I might. Styles has been on a six-day juice cleanse in readiness for Vogue’s photographer Tyler Mitchell. He practices Pilates (“I’ve got very tight hamstrings—trying to get those open”) and meditates twice a day. “It has changed my life,” he avers, “but it’s so subtle. It’s helped me just be more present. I feel like I’m able to enjoy the things that are happening right in front of me, even if it’s food or it’s coffee or it’s being with a friend—or a swim in a really cold pond!” Styles also feels that his meditation practices have helped him through the tumult of 2020: “Meditation just brings a stillness that has been really beneficial, I think, for my mental health.”

Styles has been a pescatarian for three years, inspired by the vegan food that several members of his current band prepared on tour. “My body definitely feels better for it,” he says. His shapely torso is prettily inscribed with the tattoos of a Victorian sailor—a rose, a galleon, a mermaid, an anchor, and a palm tree among them, and, straddling his clavicle, the dates 1967 and 1957 (the respective birth years of his mother and father). Frankly, I rather wish I’d packed a beach muumuu.

We take the piratical gangplank that juts into the water and dive in. Let me tell you, this is not the Aegean. The glacial water is a cloudy phlegm green beneath the surface, and clammy reeds slap one’s ankles. Styles, who admits he will try any fad, has recently had a couple of cryotherapy sessions and is evidently less susceptible to the cold. By the time we have swum a full circuit, however, body temperatures have adjusted, and the ice, you might say, has been broken. Duly invigorated, we are ready to face the day. Styles has thoughtfully brought a canister of coffee and some bottles of water in his backpack, and we sit at either end of a park bench for a socially distanced chat.

It seems that he has had a productive year. At the onset of lockdown, Styles found himself in his second home, in the canyons of Los Angeles. After a few days on his own, however, he moved in with a pod of three friends (and subsequently with two band members, Mitch Rowland and Sarah Jones). They “would put names in a hat and plan the week out,” Styles explains. “If you were Monday, you would choose the movie, dinner, and the activity for that day. I like to make soups, and there was a big array of movies; we went all over the board,” from Goodfellas to Clueless. The experience, says Styles, “has been a really good lesson in what makes me happy now. It’s such a good example of living in the moment. I honestly just like being around my friends,” he adds. “That’s been my biggest takeaway. Just being on my own the whole time, I would have been miserable.”

Styles is big on friendship groups and considers his former and legendarily hysteria-inducing boy band, One Direction, to have been one of them. “I think the typical thing is to come out of a band like that and almost feel like you have to apologize for being in it,” says Styles. “But I loved my time in it. It was all new to me, and I was trying to learn as much as I could. I wanted to soak it in…. I think that’s probably why I like traveling now—soaking stuff up.” In a post-COVID future, he is contemplating a temporary move to Tokyo, explaining that “there’s a respect and a stillness, a quietness that I really loved every time I’ve been there.”

In the music he has been working on in 2020, Styles wants to capture the experimental spirit that informed his second album, last year’s Fine Line. With his debut album, “I was very much finding out what my sound was as a solo artist,” he says. “I can see all the places where it almost felt like I was bowling with the bumpers up. I think with the second album I let go of the fear of getting it wrong and…it was really joyous and really free. I think with music it’s so important to evolve—and that extends to clothes and videos and all that stuff. That’s why you look back at David Bowie with Ziggy Stardust or the Beatles and their different eras—that fearlessness is super inspiring.”

The seismic changes of 2020—including the Black Lives Matter uprising around racial justice—has also provided Styles with an opportunity for personal growth. “I think it’s a time for opening up and learning and listening,” he says. “I’ve been trying to read and educate myself so that in 20 years I’m still doing the right things and taking the right steps. I believe in karma, and I think it’s just a time right now where we could use a little more kindness and empathy and patience with people, be a little more prepared to listen and grow.”

Meanwhile, Styles’s euphoric single “Watermelon Sugar” became something of an escapist anthem for this dystopian summer of 2020. The video, featuring Styles (dressed in ’70s-­flavored Gucci and Bode) cavorting with a pack of beach-babe girls and boys, was shot in January, before lockdown rules came into play. By the time it was ready to be released in May, a poignant epigraph had been added: “This video is dedicated to touching.”

Styles is looking forward to touring again, when “it’s safe for everyone,” because, as he notes, “being up against people is part of the whole thing. You can’t really re-create it in any way.” But it hasn’t always been so. Early in his career, Styles was so stricken with stage fright that he regularly threw up preperformance. “I just always thought I was going to mess up or something,” he remembers. “But I’ve felt really lucky to have a group of incredibly generous fans. They’re generous emotionally—and when they come to the show, they give so much that it creates this atmosphere that I’ve always found so loving and accepting.”

THIS SUMMER, when it was safe enough to travel, Styles returned to his London home, which is where he suggests we head now, setting off in his modish Primrose Yellow ’73 Jaguar that smells of gasoline and leatherette. “Me and my dad have always bonded over cars,” Styles explains. “I never thought I’d be someone who just went out for a leisurely drive, purely for enjoyment.” On sleepless jet-lagged nights he’ll drive through London’s quiet streets, seeing neighborhoods in a new way. “I find it quite relaxing,” he says.

Over the summer Styles took a road trip with his artist friend Tomo Campbell through France and Italy, setting off at four in the morning and spending the night in Geneva, where they jumped in the lake “to wake ourselves up.” (I see a pattern emerging.) At the end of the trip Styles drove home alone, accompanied by an upbeat playlist that included “Aretha Franklin, Parliament, and a lot of Stevie Wonder. It was really fun for me,” he says. “I don’t travel like that a lot. I’m usually in such a rush, but there was a stillness to it. I love the feeling of nobody knowing where I am, that kind of escape...and freedom.”

GROWING UP in a village in the North of England, Styles thought of London as a world apart: “It truly felt like a different country.” At a wide-eyed 16, he came down to the teeming metropolis after his mother entered him on the U.K. talent-search show The X Factor. “I went to the audition to find out if I could sing,” Styles recalls, “or if my mum was just being nice to me.” Styles was eliminated but subsequently brought back with other contestants—Niall Horan, Liam Payne, Louis Tomlinson, and Zayn Malik—to form a boy band that was named (on Styles’s suggestion) One Direction. The wily X Factor creator and judge, Simon Cowell, soon signed them to his label Syco Records, and the rest is history: 1D’s first four albums, supported by four world tours from 2011 to 2015, debuted at number one on the U.S. Billboard charts, and the band has sold 70 million records to date. At 18, Styles bought the London house he now calls home. “I was going to do two weeks’ work to it,” he remembers, “but when I came back there was no second floor,” so he moved in with adult friends who lived nearby till the renovation was complete. “Eighteen months,” he deadpans. “I’ve always seen that period as pretty pivotal for me, as there’s that moment at the party where it’s getting late, and half of the people would go upstairs to do drugs, and the other people go home. I was like, ‘I don’t really know this friend’s wife, so I’m not going to get all messy and then go home.’ I had to behave a bit, at a time where everything else about my life felt I didn’t have to behave really. I’ve been lucky to always feel I have this family unit somewhere.”

When Styles’s London renovation was finally done, “I went in for the first time and I cried,” he recalls. “Because I just felt like I had somewhere. L.A. feels like holiday, but this feels like home.”

“There’s so much joy to be had in playing with clothes. I’ve never thought too much about what it means—it just becomes this extended part of creating something”

Behind its pink door, Styles’s house has all the trappings of rock stardom—there’s a man cave filled with guitars, a Sex Pistols Never Mind the Bollocks poster (a moving-in gift from his decorator), a Stevie Nicks album cover. Fleetwood Mac’s “Dreams” was one of the first songs he knew the words to—“My parents were big fans”—and he and Nicks have formed something of a mutual-admiration society. At the beginning of lockdown, Nicks tweeted to her fans that she was taking inspiration from Fine Line: “Way to go, H,” she wrote. “It is your Rumours.” “She’s always there for you,” said Styles when he inducted Nicks into the Rock & Roll Hall of Fame in 2019. “She knows what you need—advice, a little wisdom, a blouse, a shawl; she’s got you covered.”

Styles makes us some tea in the light-filled kitchen and then wanders into the convivial living room, where he strikes an insouciant pose on the chesterfield sofa, upholstered in a turquoise velvet that perhaps not entirely coincidentally sets off his eyes. Styles admits that his lockdown lewk was “sweatpants, constantly,” and he is relishing the opportunity to dress up again. He doesn’t have to wait long: The following day, under the eaves of a Victorian mansion in Notting Hill, I arrive in the middle of fittings for Vogue’s shoot and discover Styles in his Y-fronts, patiently waiting to try on looks for fashion editor Camilla Nickerson and photographer Tyler Mitchell. Styles’s personal stylist, Harry Lambert, wearing a pearl necklace and his nails colored in various shades of green varnish, à la Sally Bowles, is providing helpful backup (Britain’s Rule of Six hasn’t yet been imposed).

Styles, who has thoughtfully brought me a copy of de Botton’s 2006 book The Architecture of Happiness, is instinctively and almost quaintly polite, in an old-fashioned, holding-open-doors and not-mentioning-lovers-by-name sort of way. He is astounded to discover that the Atlanta-born Mitchell has yet to experience a traditional British Sunday roast dinner. Assuring him that “it’s basically like Thanksgiving every Sunday,” Styles gives Mitchell the details of his favorite London restaurants in which to enjoy one. “It’s a good thing to be nice,” Mitchell tells me after a morning in Styles’s company.

MITCHELL has Lionel Wendt’s languorously homoerotic 1930s portraits of young Sri Lankan men on his mood board. Nickerson is thinking of Irving Penn’s legendary fall 1950 Paris haute couture collections sitting, where he photographed midcentury supermodels, including his wife, Lisa Fonssagrives, in high-style Dior and Balenciaga creations. Styles is up for all of it, and so, it would seem, is the menswear landscape of 2020: Jonathan Anderson has produced a trapeze coat anchored with a chunky gold martingale; John Galliano at Maison Margiela has fashioned a khaki trench with a portrait neckline in layers of colored tulle; and Harris Reed—a Saint Martins fashion student sleuthed by Lambert who ended up making some looks for Styles’s last tour—has spent a week making a broad-shouldered Smoking jacket with high-waisted, wide-leg pants that have become a Styles signature since he posed for Tim Walker for the cover of Fine Line wearing a Gucci pair—a silhouette that was repeated in the tour wardrobe. (“I liked the idea of having that uniform,” says Styles.) Reed’s version is worn with a hoopskirt draped in festoons of hot-pink satin that somehow suggests Deborah Kerr asking Yul Brynner’s King of Siam, “Shall we dance?”

Styles introduces me to the writer and eyewear designer Gemma Styles, “my sister from the same womb,” he says. She is also here for the fitting: The siblings plan to surprise their mother with the double portrait on these pages.

I ask her whether her brother had always been interested in clothes.

“My mum loved to dress us up,” she remembers. “I always hated it, and Harry was always quite into it. She did some really elaborate papier-mâché outfits: She made a giant mug and then painted an atlas on it, and that was Harry being ‘The World Cup.’ Harry also had a little dalmatian-dog outfit,” she adds, “a hand-me-down from our closest family friends. He would just spend an inordinate amount of time wearing that outfit. But then Mum dressed me up as Cruella de Vil. She was always looking for any opportunity!”

“As a kid I definitely liked fancy dress,” Styles says. There were school plays, the first of which cast him as Barney, a church mouse. “I was really young, and I wore tights for that,” he recalls. “I remember it was crazy to me that I was wearing a pair of tights. And that was maybe where it all kicked off!”

Acting has also remained a fundamental form of expression for Styles. His sister recalls that even on the eve of his life-changing X Factor audition, Styles could sing in public only in an assumed voice. “He used to do quite a good sort of Elvis warble,” she remembers. During the rehearsals in the family home, “he would sing in the bathroom because if it was him singing as himself, he just couldn’t have anyone looking at him! I love his voice now,” she adds. “I’m so glad that he makes music that I actually enjoy listening to.”

Styles’s role-playing continued soon after 1D went on permanent hiatus in 2016, and he was cast in Christopher Nolan’s Dunkirk, beating out dozens of professional actors for the role. “The good part was my character was a young soldier who didn’t really know what he was doing,” says Styles modestly. “The scale of the movie was so big that I was a tiny piece of the puzzle. It was definitely humbling. I just loved being outside of my comfort zone.”

His performance caught the eye of Olivia Wilde, who remembers that it “blew me away—the openness and commitment.” In turn, Styles loved Wilde’s directorial debut, Booksmart, and is “very honored” that she cast him in a leading role for her second feature, a thriller titled Don’t Worry Darling, which went into production this fall. Styles will play the husband to Florence Pugh in what Styles describes as “a 1950s utopia in the California desert.”

Wilde’s movie is costumed by Academy Award nominee Arianne Phillips. “She and I did a little victory dance when we heard that we officially had Harry in the film,” notes Wilde, “because we knew that he has a real appreciation for fashion and style. And this movie is incredibly stylistic. It’s very heightened and opulent, and I’m really grateful that he is so enthusiastic about that element of the process—some actors just don’t care.”

“I like playing dress-up in general,” Styles concurs, in a masterpiece of understatement: This is the man, after all, who cohosted the Met’s 2019 “Notes on Camp” gala attired in a nipple-freeing black organza blouse with a lace jabot, and pants so high-waisted that they cupped his pectorals. The ensemble, accessorized with the pearl-drop earring of a dandified Elizabethan courtier, was created for Styles by Gucci’s Alessandro Michele, whom he befriended in 2014. Styles, who has subsequently personified the brand as the face of the Gucci fragrance, finds Michele “fearless with his work and his imagination. It’s really inspiring to be around someone who works like that.”

The two first met in London over a cappuccino. “It was just a kind of PR appointment,” says Michele, “but something magical happened, and Harry is now a friend. He has the aura of an English rock-and-roll star—like a young Greek god with the attitude of James Dean and a little bit of Mick Jagger—but no one is sweeter. He is the image of a new era, of the way that a man can look.”

Styles credits his style trans­formation—from Jack Wills tracksuit-clad boy-band heartthrob to nonpareil fashionisto—to his meeting the droll young stylist Harry Lambert seven years ago. They hit it off at once and have conspired ever since, enjoying a playfully campy rapport and calling each other Sue and Susan as they parse the niceties of the scarlet lace Gucci man-bra that Michele has made for Vogue’s shoot, for instance, or a pair of Bode pants hand-painted with biographical images (Styles sent Emily Adams Bode images of his family, and a photograph he had found of David Hockney and Joni Mitchell. “The idea of those two being friends, to me, was really beautiful,” Styles explains).

“He just has fun with clothing, and that’s kind of where I’ve got it from,” says Styles of Lambert. “He doesn’t take it too seriously, which means I don’t take it too seriously.” The process has been evolutionary. At his first meeting with Lambert, the stylist proposed “a pair of flares, and I was like, ‘Flares? That’s fucking crazy,’  ” Styles remembers. Now he declares that “you can never be overdressed. There’s no such thing. The people that I looked up to in music—Prince and David Bowie and Elvis and Freddie Mercury and Elton John—they’re such showmen. As a kid it was completely mind-blowing. Now I’ll put on something that feels really flamboyant, and I don’t feel crazy wearing it. I think if you get something that you feel amazing in, it’s like a superhero outfit. Clothes are there to have fun with and experiment with and play with. What’s really exciting is that all of these lines are just kind of crumbling away. When you take away ‘There’s clothes for men and there’s clothes for women,’ once you remove any barriers, obviously you open up the arena in which you can play. I’ll go in shops sometimes, and I just find myself looking at the women’s clothes thinking they’re amazing. It’s like anything—anytime you’re putting barriers up in your own life, you’re just limiting yourself. There’s so much joy to be had in playing with clothes. I’ve never really thought too much about what it means—it just becomes this extended part of creating something.”

“He’s up for it,” confirms Lambert, who earlier this year, for instance, found a JW Anderson cardigan with the look of a Rubik’s Cube (“on sale at matchesfashion.com!”). Styles wore it, accessorized with his own pearl necklace, for a Today rehearsal in February and it went viral: His fans were soon knitting their own versions and posting the results on TikTok. Jonathan Anderson declared himself “so impressed and incredibly humbled by this trend” that he nimbly made the pattern available (complete with a YouTube tutorial) so that Styles’s fans could copy it for free. Meanwhile, London’s storied Victoria & Albert Museum has requested Styles’s original: an emblematic document of how people got creative during the COVID era. “It’s going to be in their permanent collection,” says Lambert exultantly. “Is that not sick? Is that not the most epic thing?”

“It’s pretty powerful and kind of extraordinary to see someone in his position redefining what it can mean to be a man with confidence,” says Olivia Wilde

“To me, he’s very modern,” says Wilde of Styles, “and I hope that this brand of confidence as a male that Harry has—truly devoid of any traces of toxic masculinity—is indicative of his generation and therefore the future of the world. I think he is in many ways championing that, spearheading that. It’s pretty powerful and kind of extraordinary to see someone in his position redefining what it can mean to be a man with confidence.”

“He’s really in touch with his feminine side because it’s something natural,” notes Michele. “And he’s a big inspiration to a younger generation—about how you can be in a totally free playground when you feel comfortable. I think that he’s a revolutionary.”

STYLES’S confidence is on full display the day after the fitting, which finds us all on the beautiful Sussex dales. Over the summit of the hill, with its trees blown horizontal by the fierce winds, lies the English Channel. Even though it’s a two-hour drive from London, the fresh-faced Styles, who went to bed at 9 p.m., has arrived on set early: He is famously early for everything. The team is installed in a traditional flint-stone barn. The giant doors have been replaced by glass and frame a bucolic view of distant grazing sheep. “Look at that field!” says Styles. “How lucky are we? This is our office! Smell the roses!” Lambert starts to sing “Kumbaya, my Lord.”

Hairdresser Malcolm Edwards is setting Styles’s hair in a Victory roll with silver clips, and until it is combed out he resembles Kathryn Grayson with stubble. His fingers are freighted with rings, and “he has a new army of mini purses,” says Lambert, gesturing to an accessory table heaving with examples including a mini sky-blue Gucci Jackie bag discreetly monogrammed HS. Michele has also made Styles a dress for the shoot that Tissot might have liked to paint—acres of ice-blue ruffles, black Valenciennes lace, and suivez-moi, jeune homme ribbons. Erelong, Styles is gamely racing up a hill in it, dodging sheep scat, thistles, and shards of chalk, and striking a pose for Mitchell that manages to make ruffles a compelling new masculine proposition, just as Mr. Fish’s frothy white cotton dress—equal parts Romantic poet and Greek presidential guard—did for Mick Jagger when he wore it for The Rolling Stones’ free performance in Hyde Park in 1969, or as the suburban-mom floral housedress did for Kurt Cobain as he defined the iconoclastic grunge aesthetic. Styles is mischievously singing ABBA’s “Gimme! Gimme! Gimme! (A Man After Midnight)” to himself when Mitchell calls him outside to jump up and down on a trampoline in a Comme des Garçons buttoned wool kilt. “How did it look?” asks his sister when he comes in from the cold. “Divine,” says her brother in playful Lambert-speak.

As the wide sky is washed in pink, orange, and gray, like a Turner sunset, and Mitchell calls it a successful day, Styles is playing “Cherry” from Fine Line on his Fender acoustic on the hilltop. “He does his own stunts,” says his sister, laughing. The impromptu set is greeted with applause. “Thank you, Antwerp!” says Styles playfully, bowing to the crowd. “Thank you, fashion!”

[hecallsmehischild]

Recent Media Consumed

Movies

Violet Evergarden: Eternity and the Auto Memory Doll. I was disappointed by the movie. If they had taken this concept and developed a new season around it, it might have had way more emotional impact, but I felt like we either didn’t have enough context to understand the weight of certain decisions or (more likely) we were given situations that were shoe-horned for the emotional drama and conflict they can bring, without any good reason behind them. That being said, it was fun seeing characters doing what characters do, and this show has gorgeous animation that was lovely to watch. Good eye candy, frustrating story.

Books

Basic Economics by Thomas Sowell. This was recommended to me by my housemate. I started reading it March 14th and it took me until June 6 to finish it. The beginning was a lot easier to understand than I thought it would be, but as I struggled through the middle, I realized it was best to take it slow with these concepts. I listened for a short segment, then set it aside and did something completely different, then came back to it days or weeks later to continue. I will likely be doing a re-read of this at some point, but I think I’ve got the gist from this first reading. If the Freakonomics books helped me look at “Where are the incentives pointing?” then this book hammers in the concept of “limited resources that have alternative uses” and all the implications that stem from that. I found it to be worth the time it takes to understand it. My takeaways are that, and the idea that it is impossible to remove the concept of cost from existence, it is only possible to transfer cost, and that this covers much more than just situations that have to do with money.

Intellectuals and Race by Thomas Sowell. This guy reasons things out pretty thoroughly, and no cow is sacred to him. Both are things I admire in people who tackle difficult topics. I want to read a lot more of what he’s written. Apparently this book is a subsection of a book called Intellectuals and Society, though expanded and revised into its own book. I will probably be reading that next. The biggest take-away I have from this book is to beware of people who support an idea that imposes no cost on them (but extreme cost on others) if they are wrong, and that it isn’t wrong to ask for evidence and hard facts, no matter how sacred-seeming the topic you are addressing. Being “on the side of the angels” is less important than the truth, no matter how right an idea may seem.

Games

Legend of Zelda: Breath of the Wild. Holy cow, you guys. Do you understand that I don’t do controller-based games? I can’t. I didn’t grow up playing them, and I dismissed all such games as impossible for me to learn at this stage in my life. How could I ever master the muscle memory necessary for games like Bioshock or Last of Us or Skyrim? It was forever out of my reach. Until. I watched a couple Youtube videos by a guy who had his wife play video games for the first time, a series about Gaming for Non-Gamers, and he covered Breath of the Wild. And I realized that this game actually teaches you, better than most other games, how to use its mechanics. And I also realized, for the first time, that video games have their own language, MUCH LIKE BOOKS AND LITERATURE ACTUALLY HAVE A SEPARATE LANGUAGE AND CONVENTIONS THAT HEAVY READERS AND WRITERS CAN RECOGNIZE. Once I realized there’s a purposeful language, I started looking for it, and recognizing it as I tried Breath of the Wild. Guys. It’s been a month, and I just beat the Divine Beast… I forget the name, but it’s the elephant. And I took almost no damage. Now, all that being said… this game is also hard-core tripping my addiction issues. I lose 7 hours without blinking while playing this game, sometimes longer. And also, I stop caring about other things. Like writing. Like cleaning. Like… contacting people. Those are all symptoms that accompanied my addiction to text based roleplaying. I am also using it to numb some current anxieties, which is ANOTHER addiction signal. So, for now, I’m going to haul back and put strict limitations on my playing. If it’s still a problem, I may need to drop it. But even if I do, the fact that I’m doing as well as I am continues to re-inforce an idea that slowly gains ground in me: many things that I dismiss out of hand as “I can’t do it, I don’t have the skills,” are things I can learn. I don’t think that is true for ALL things, however, it is true for more things than I have ever allowed as possible, and that is incredibly encouraging.

Anime

Log Horizon. This was fun, just lots of fun to watch. I’ve never played a MMORPG, but my recent base of learning the D&D system helped me understand most components of the MMORPG I was watching in this show (and my game-loving husband filled in the rest of the blanks). Unfortunately I found the second season to be confusing. It dropped a large number of new characters and motivations on us with little to no explanation, then didn’t spend time developing our understanding (or even exploring our lack of understanding) with them before throwing our heroes into conflict with them. Felt like they expected us to know where they were going, but I didn’t understand what was going on. In spite of that, the dialogue was spot on the whole time, in ways I found amusing because of how closely they parallel life OUTSIDE the game world. All in all, very enjoyable anime, and I look forward to the…. new season dropping later this year? Heck yes!

[rhowena]

Pile of stuff concerning what happened to Loki between Thor and The Avengers

Originally posted on r/FanTheories

https://inforapid.org/webapp/webapp.php?shareddb=IAxUFHnwkGJSYMj9OFbT8mRl5goHm9SC2qHbWw4knO1cng5qI5Wrg48nP1MdgbWlJmHj6UpwbN343IqnstQUwxIIO01M5Rvb

As it does not escape my notice that I’ve created a digital version of this meme, some navigation help for anyone who needs it:

Mouse over/tap an item or relation to view its description

For items with the yellow ‘Note’ label, select the node and then 'Notes on Item’ in the side menu to view an additional notes page

If an item has a globe icon it the top-left corner, click it to open a webpage

'Adjust View’ in the side menu has controls to zoom in/out, increase/decrease the distance between items, and filter items or relations by category

Relations (and items) are color-coded by type: solid green lines are for in-universe evidence (light green connects evidence to the theory it supports, while dark green connects pieces of evidence that should be looked at together), purple dotted lines denote parallels, and dark red lines mark cases of “one of these things is not like the other”

And an overview of the theories contained therein:

First, the central piece of tinfoil around which all other tinfoil is arrayed: remember how, at the end of the first Thor, Loki was pathologically obsessed with gaining his father’s approval? And how, when he next showed up after vanishing for an entire year, he’d gotten mixed up with a guy who keeps a menagerie of adopted children? And how, during his argument with Thor on the mountaintop, he said this?

Loki: Did you mourn? Thor: We all did. Our father– Loki: Your father. He did tell you my true parentage, did he not?

Loki: I’ve seen worlds you’ve never known about! I have grown, Odinson, in my exile. I have seen the true power of the Tesseract and when I wield it—

Tom Hiddleston: There’s a bit where Thor says, “We all mourned! Our father…” and Loki interrupts him and says, “YOUR father.” And it’s that sense of 'don’t include me in this anymore. I have no relation or connection to you.’ It’s his way of saying 'I’ve let go, I’m gone, I’m on the outside of the fence, I’m happy here, I don’t want to come back in.’

If I may take a minute to get out some of my extremely complicated feelings on this, while there’s a bunch more evidence in favor of Loki having been another of Thanos’s children that can be viewed on the mind map, I want to highlight this pair of quotes because it’s everything implied by the words “Your father” that makes it into a devastating punch in the stomach which draws on both halves of Loki’s Woobie, Destroyer of Worlds characterization: his genuine love for his family is his primary redeeming quality and that he forswore it like this puts the terrible moment when he first knelt before Thanos and pledged himself to the Mad Titan’s service firmly into archetypal Faustian sell-your-soul territory, but when you consider the straits he was in at the time and the implication that Thanos initially ensnared him not through promises of power but by preying on him emotionally, it’s a very human kind of tragic mistake.

The other mitigating factor is that based on everything we’ve heard from Thanos’s other children, it’s a safe bet that he did in fact do unspeakably horrible things to Loki too – indeed, noticing the resemblance between the existing theories about Loki having been tortured/brainwashed and Gamora’s “He took me, tortured me, turned me into a weapon” was what prompted the above realization in the first place. (It’s reminiscent of Theon’s storyline in ASOIAF/GOT: yeah, he betrayed his adoptive family and did some generally awful stuff, but no one deserves what happened to him.) It also bears emphasizing that accountability cuts both ways: one of the key takeaways from the previous bullet point is that the suffering Loki went through doesn’t absolve him of responsibility for his villainous actions, but the other side of the coin is that Loki’s partial complicity doesn’t absolve Thanos of responsibility for the choice he made to take a broken, desperate young man who’d just lost everything and turn him into the rabid animal we saw during The Avengers, and I dearly hope that exploring the rich font of psychological horror that is that time period will erase any remaining doubt that Thanos’s claims of acting For The Greater Good are nothing but empty, egotistical, self-righteous posturing and everyone in the audience who insists on taking them at face value is being duped just as Loki was.

Stephen: No. I mean, come on. Look at your face. Dormammu made you a murderer. Just how good can his kingdom be?

As for where this is all going, I believe there’s a good chance that the Loki Disney+ series will be where they finally address this as a. the split timeline Loki the series will be following is still fresh from his time with Thanos and it will therefore have to explain what happened if we’re to understand the kind of headspace that he’s in at that moment and b. Tom Hiddleston has revealed that the series will also clarify whether or not Loki really is dead in the main timeline, and everything I have so far indicates that understanding the nature of his original pact with Thanos is essential to understanding both Loki’s choice to die and Thanos’s choice to kill him (see the 'Pledge of fidelity’ and 'Limited use’ notes pages on the mind map). Character-wise, I think one of the points of emphasis will be that Loki’s death in Infinity War doesn’t wrap up his story as neatly as it may appear to on the surface; truly completing his redemption arc will require him to confront this part of his past in full, and with it his guilt over everything he’s done and his fear that he’s wrecked his life and relationship with his family so thoroughly that he can never, ever fix them.

Loki: Can you? Can you wipe out that much red? […] Your ledger is dripping, it’s gushing red, and you think saving a man no more virtuous than yourself will change anything? This is the basest sentimentality. This is a child at prayer… PATHETIC! You lie and kill in the service of liars and killers. You pretend to be separate, to have your own code. Something that makes up for the horrors. But they are a part of you, and they will *never* go away!

An additional giant red flag indicating we really should be asking more questions about that time gap is a group of lines in The Avengers which reveal that Thanos taught Loki how to use the Tesseract.

The Other: The Tesseract has awakened. It is on a little world. A human world. They would wield its power, but our ally knows its workings as they never will.

The Other: You question us? You question HIM? He, who put the Scepter in your hand? Who gave you ancient knowledge and new purpose when you were cast out, defeated?

Loki: I’ve seen worlds you’ve never known about! I have grown, Odinson, in my exile. I have seen the true power of the Tesseract and when I wield it— Thor: Who showed you this power? Who controls the would-be king?

Sharing that kind of knowledge and power with someone as volatile as Loki strikes me as an monumentally terrible idea (and as much as I don’t want to be the person who throws a tantrum because their fanfic didn’t come true, I’m kinda salty that Thanos was defeated without it coming back to bite him in the ass), which leaves me wondering what Thanos hoped to gain that he believed would be worth the risks. My thoughts on that particular sub-puzzle are still somewhat hazy, but my basic sense is that there’s something weird going on between Loki and the Tesseract and wanting to exploit that connection is one of the reasons Thanos went to all the trouble of breaking him into submission.

Loki: So I am no more than another stolen relic, locked up here until you might have use of me?

The other reason for Thanos’s interest in Loki ties back to all that emotional twistiness I talked about earlier: he planned to leverage Loki’s anger and resentment towards his family in a bid to destroy Odin and Asgard from the inside.

Zemo: An empire toppled by its enemies can rise again. But one which crumbles from within? That’s dead… forever.

As a prelude to this, during The Avengers Thanos had additionally tasked Loki with killing Thor as a way to prove his loyalty and destroy the last remaining shreds of his own humanity, a test Loki failed because he still loved his brother too much.

Coulson: You’re going to lose. It’s in your nature. […] You lack conviction.

What’s more, Thanos anticipated this, and the Scepter’s influence over Loki was aimed at forcing him to go through with it if he refused.

Loki: I won’t touch Barton, not until I make him kill you! Slowly, intimately, in every way he knows you fear! And then he’ll wake, just long enough to see his good work, and when he screams, I’ll split his skull!

Lastly, even with Infinity War having established that Thanos simply gets off on emotional torture, that he would go out of his way to fuck with Odin personally by turning his second son against him leads me to believe there was a special hatred there stemming from some as-yet unrevealed history between the two. I mean, when I picture the alternate universe where Thanos shows up to attack Asgard with a corrupted Loki in tow like “You screwed up so badly that he chose me as a father figure over you” …that isn’t something you say to a complete stranger.

GRRM on writing villain POVs: That’s a comic book kind of thing, where the Red Skull gets up in the morning [and asks] “What evil can I do today?” Real people don’t think that way. We all think we’re heroes, we all think we’re good guys. We have our rationalizations when we do bad things. “Well, I had no choice,” or “It’s the best of several bad alternatives,” or “No it was actually good because God told me so,” or “I had to do it for my family.” We all have rationalizations for why we do shitty things or selfish things or cruel things. So when I’m writing from the viewpoint of one of my characters who has done these things, I try to have that in my head.

[metallicarules5]

My Big Takeaways: Thoughts and Opinions on TDP Situation

It has been almost 72 hours since the most recent accusation and allegations were brought forth by Danika, Lulu, and Diandra. Aaron Ehasz has finally decided to respond to the allegations brought forward. For many of us, opinions have changed, and despite me and others advocating against it, many have vehemently already picked what sides we lay on, either staunchly in support of the women, or staunchly in support of Ehasz. I have read the perspectives given by many people here and on Reddit (since these have been where most of the discussions have been taking place), have read and reread the accusations, as well as the statement by Ehasz. These are what my thoughts are based on what we do know:

1. Aaron Ehasz is a shitty boss. Whether you 100% believe the accusations, mostly believe, or even somewhat believe, I think there’s enough evidence there to say that Ehasz, who is a talented writer, is an incompetent manager. He is not a leader. He is either incapable, or simply doesn’t want to, communicate with his staff, treats surrogates and those beneath him less than professionally, either outright lies or makes promises he ends up not being able to keep, and is someone who’s stuck in his way of doing things.

2. That being said…I’m not seeing evidence of sexism, abuse, harassment, misogyny, or bigotry. Sure what’s accused of is bad. It makes him look like an asshole, a douchebag, an egotist, an authoritarian, and various other names. However, sexist is not one of them. Even Danika mentioned in her tweet thread that his behavior extended to both men and women alike, and none of the accusers said that the reason for his behavior was solely because they were women. While certainly unprofessional, the behavior he displayed isn’t criminal.

3. In any workplace, not all of your ideas are going to stick. One of the most common accusations made in the accounts was that Ehasz supposedly didn’t listen to or acknowledge their creative input all the time. On the surface, this seems horrible and bad, but the fact of the matter is that this happens all the time in the workplace, regardless of where you work. I’ve come forward with ideas or suggestions to my managers as to ways I think we can run the business better. Sometimes, my ideas were accepted, but other times, they weren’t and were flat out rejected. It sucks when you have what you think is a great idea and it gets shot down by a higher up, but that’s the reality. Other times, the managers would enforce a new policy or a change in the workplace, despite the fact that I preferred the old way of doing things. Did it make me angry, sure, but to call that harassment, abuse, or anything along those lines, definitely not. I figured out how to work within the new system, even if I didn’t like the change, and made it work. They’re the manager, and they have to make the ultimate decision that they believe is the best direction to go in. If I’m unhappy, I am free to leave. Look at it this way, we’ve all written essays or papers for school, and for some of them, you were asked to hand in multiple drafts of it. You get a draft of yours back with comments and suggestive edits from the teacher. Did you listen to every single one of those suggestions? My guess is probably not. Sure, some or a lot could be true and you work to incorporate it, but others you believe would actually hurt the quality of your writing rather than enhance it. Maybe the suggested edit works against your point, or weakens your argument, or messes with the overall flow. At the end of the day, it’s your paper, and you make the final decision.

4. As the boss and creative head, Aaron will always have the final say. This sort of plays off the previous point, but it deserves it’s own spot. Whether he was at Riot or Wonderstorm, he was the head of these teams, and thus, he makes the ultimate decision on which direction to go. Diandra admits that their mutual superior did give Aaron complete freedom: “He was told that he had cart blanche to change things.” So when he decided to make editing a group activity with people sharing notes, she may not have liked or agreed with the situation, but that’s all there is, someone who didn’t agree with it. Aaron’s responses to her are rather dismissive, but that’s all they are. It again shows he doesn’t communicate with his staff, is egotistical, and is a “My way or the highway” type person, but it’s not abuse.

5. Neither Danika or Lulu were writers. This is not meant to be derogatory to the two of them, nor is it meant to diminish the work they did while at Wonderstorm. But here’s the thing, their jobs were not to be involved with the creative process, to my understanding. Danika was responsible for social media, and Lulu was a writing assistant, not a writer herself. Sure, the aspiration was most likely to become a writer one day for the show, but that still doesn’t give her creative input on the show’s direction, nor did that fall in line with the responsibilities of the position.

6. Memories are malleable, they do change over time. Scientific studies have actually proven that, over time, memories become disjointed and change as a result of not only the passage of time, but the more we try to remember those events. “A memory is not simply an image produced by time traveling back to the original event – it can be an image that is somewhat distorted because of the prior times you remembered it…Your memory of an event can grow less precise even to the point of being totally false with each retrieval.” These were the words of one Donna Bridge, the lead author of a research paper on this subject matter. Now obviously, when you read this, your first response is going to be denial that this is possible, how can I forget an event that clearly had a huge impact on me. Well there’s a lot of factors that play into this and our changing perception, causing us to remember the situation differently each time. “Memories aren’t static…If you remember something in the context of a new environment and time, or if you are even in a different mood, your memories might integrate the new information.” These findings have been further explored and proven by other studies, such as one done by Liz Phelps, a professor of Psychology and New York University. 

…Phelps explains that our memories can change because each time we revisit them they become vulnerable. When we first lay down a memory, it takes the brain a little while to solidly store the information—a process called consolidation. And every time we subsequently recall that memory, it has to go through a new storage process—another slight delay for another consolidation. During that window, new information can interfere with the old information and alter the memory. Phelps says it is like playing the school game of telephone, where one student tells a short story to a second student, then that person retells it to a third, who tells it to a fourth, and so on. By the end of the chain the story is usually quite different from how it began.

So again, this makes it hard to determine who is telling either the full truth or even just the partial truth, because both sides are probably remembering the situation wrongly or have led themselves to believe that their side of the story is the truth. Maybe it is Ehasz gaslighting, maybe this is also at play, both can be true at the same time, these are not mutually exclusive.

7. Aaron’s statement is bad, like, really bad. Frankly, he could have admitted to everything he was accused of and offer the most sincere apology ever, and people would still not accept it. However, what this statement ultimately is, is Aaron stroking his own dick and that of Wonderstorm’s. I’m not surprised he denied the accusations, and regardless of what side you’re on, this shouldn’t be a surprise to you either. If you’re on the side that he’s innocent, he shouldn’t apologize for something he didn’t do. If you’re on the side he’s guilty, then that just further proves many of the women’s points about him gaslighting and not understanding when he did things wrong. That doesn’t change the fact that this is just a diversion and a bare bones, vague statement meant to try and shield him, downplay the situation, and make it go away. I do think there’s enough corroborating evidence to say that he can be less than professional in the workplace (read Point #1), to which he could apologize for. However, while he says he is imperfect, he’s still acting like he did nothing wrong and everything is completely fine. For those defending Ehasz, this statement seems more than enough, but for those undecided or siding with the others, this only sows more discord and animosity, meaning his attempts to try and defuse the situation have failed. For a guy who’s so gifted at writing, he sure couldn’t write a better defense.

I’m sure there’s more I can say, but these are the biggest points and my biggest takeaways.

Here’s the truth of the matter, we can only judge based on the evidence at hand. We were not in those rooms, we were not on those phone calls, we were not in those emails, etc. As a result, our knowledge is limited. Maybe some of those claims are blown out of proportion, which I have seen some women say about it. Maybe things are worse than they actually are and there’s more stuff that Danika and Lulu haven’t come forward with yet as they alluded to. We just don’t know, and that’s why it’s important to always keep an open mind, question and scrutinize, and listen to each other, not be at each other’s throats. There will be those that vastly disagree with some or all of the content of this post. Okay, then we can have a discussion about where we agree and disagree. I’m not in the business of trying to “defend abusers” or “believe all women,” I’m just a fan who wants to be able to enjoy something without it falling into controversy, for once.

[lux-astrorum]

so i’ve seen this “bts is racist (most specifically antiblack)” post going around and i...wanted to say some words

first of all, they (and their company, who obviously play a hand in their product and their image) have made a lot of mistakes. especially early on in their careers. they have appropriated black culture. they have said inappropriate/insensitive things. i’m white, and so i can’t relate to how black people may have been hurt by their past words/actions, but as a woman, i have to come to come to terms with the fact that they’ve said a lot of misogynistic things as well and openly joked about engaging in behaviors i don’t support (cough cough watching porn cough cough). 

secondly, i’m sorry on behalf of our fandom that so many people treat bts as literal perfect angels who can do no wrong. whatever bts themselves have done/said may hurt, but i’m sure it also hurts even more when most of their massive following literally blindly idolizes them and cannot acknowledge their flaws. celebrities are humans too, and no matter how “perfect” they may try to keep their image, they make mistakes like any of us, yet so few fans are willing to see that.

that said, i did want to say a few things. as someone who has lived and taught in Korea for over a year know, I’m here to tell you: this country as a whole sucks ASS at international awareness, supporting minorities, and general social issues education. bear in mind, even in Seoul, it’s mostly a homogeneous society, at least ethnically. even so, the sensitivity to social, particularly multicultural, issues is pretty abysmal. for example:

-i don’t even own a tv but i went on a trip here and we had a tv in the room we were staying at and were just flipping through channels and saw blackface on a variety or comedy show. this is the year 2019

-the south korean president himself has greeted foreign rulers & dignitaries in the wrong language on his recent Asian tour (more of a gaffe than anything but still demonstrates that this unawareness and lack of care about other cultures penetrates to a very high level in politics and society)

-hey remember when Blackpink took some heat for imitating tribal yells in “Boombayah” a few years back? well apparently koreans still don’t have an issue with that bc literally my first day of teaching last year the 3rd grade teacher puts on a video of the song “10 little Indians” and had the kids imitate tribal yells as part of the song. i didn’t even know how to respond

so there’s a few takeaways from this: most importantly, bts themselves were likely not educated, perhaps at all, on any of these issues growing up. i’d hazard a guess that seoul does a slightly better job than anywhere else in the country since it has the most representation of the international community, but even seoul is awful and NONE of the bts members grew up here. 

which brings me to my second point: as far as my memory and understanding goes (i’ve only been involved in the fandom since 2016, i don’t know every single thing there is to know about bts, and i didn’t check all of the specific things the op of that post mentioned) most of the relevant insensitive words/actions occurred earlier in their careers. bear in mind that in 2013 when they debuted, most of the members were still teenagers - jin, born in dec 1992, would have been the oldest at 20. all i know is before i was 20 i still held a lot of really trashy religious/social/political views too and wouldn’t have hesitated back then to say a lot of things that I now realize could be insensitive at best and hurtful at worst. but i’ve since stepped back, listened to others, educated myself a bit better, and i’m always trying to work toward being better & understanding others more.

which brings me to my final point: i’ve been in the fandom long enough now to see bts gradually enter the mainstream entertainment/fame scene, and even since then i’ve noticed they’ve made efforts to be more culturally aware and sensitive. the most poignant example that comes to mind now is when they first performed at the BBMAs in 2018, they changed all the lyrics to “Fake Love” that included 내가 (”nae-ga,” I) and 네가 (”ni-ga,” you), just to avoid any possible misunderstandings that might arise from a primarily non-Korean-speaking audience. (I mentioned before that as a woman I have to deal with the fact that bts once released songs like “War of Hormone,” the lyrics of which sadly perpetuate misogyny and rape culture - BUT, bts would later go on to release “21st Century Girl,” the entire “Love Yourself” series, and “Boy With Luv,” titles that show us a developed, thoughtful, mature, educated view on women’s inherent dignity/value and true love.) i’m just word vomiting onto this post so i’m not going to include a general list of evidence, but it does seem like, especially once bts started getting exposed to the international community and traveling and collaborating frequently outside of korea, they have made a lot of conscious effort to grow, mature, educate themselves, and be more careful about their words, actions, and overall message.

is bts perfect now? no. some of you may recall recently (ok maybe not recently....but like, within the last year) some controversy over jimin wearing a  korean streetwear shirt that had Korea’s independence day printed on it with an image of an atomic bomb explosion. yeah, maybe not his most shining moment as a person. (but AGAIN, i can vouch that most koreans wouldn’t have a problem with that at all, in fact the shirt sold out shortly after the controversy arose, bc lots of koreans in my experience are constantly looking for ways to give the middle finger to japan. but i digress). the POINT is, no member of bts ever was, is, or will be perfect or completely pure and unproblematic. that’s just life. but i think their image and music have come a long way in trying to promote something positive, and that’s something to be acknowledged. 

to conclude:

1) i do not know bts personally as people. i am aware that idols qua idols are first and foremost a carefully constructed image designed to make money. that said, my impression of bts is that their words, actions, and product were sometimes insensitive, and as a result hurtful, more frequently early on due mainly to a lack of proper education and awareness (same as korea in general), as well as the fact that they were still young and immature, and of course flawed human beings. however, my impression is also that they’ve never intentionally tried to be malicious or hurt anyone, and that they’ve made sincere efforts to educate themselves and do better going forward.

2) bts having said/done racist, misogynistic, etc, etc things IS a problem. but it’s not a bts problem, it’s a nationwide korean society and education problem. and the fact that so many bts/kpop fans refuse to see this problem makes it a WORLDWIDE problem. we can all do better to be more sensitive to others and be more careful with our words/actions, and we can all do better about not blindly elevating people as though they’re perfect and trying to point-blank defend everything they do even if it’s obviously wrong.

3) people are people. we make mistakes. we do/say hurtful things. sometimes it’s innocent ignorance, sometimes it’s willful ignorance, and sometimes it’s just plain malicious. those things do hurt, but please give people room to learn & grow after their mistakes. 

[isabellerosemarielefrancois]

The current state of     social media ethics: what     trends are happening in the industry? What are two current cases related     to social media ethics? Outline the current code of ethics for social     media by a professional organization you would be interesting in joining     as part of their social media staff.

Trends that I see across social media are short video clips that have shock factors, or something with an aesthetic/attractive appeal. I would be interested in joining the social media team for a college, or a nonprofit group home, sports team, pet shelter a place that needs exposure of sorts. I would like to feel like I am helping. If I were to work for a college social media team (ccri) I feel that I would be more emersed in the school community life, and I would enjoy sharing community photos and events. It would mean upholding the school mantra and following all school and social media policies.

  Brands/professionals     with strong social media ethical codes: what brands are utilizing proper     social media ethical practices? Are there any professionals that you feel     practice strong ethical behavior on social media? Support your choice with evidence. What are some     takeaways you can bring forth in your own practices?

I don’t follow a lot of brands or professionals online so I cannot compare their online personas, but one that I do follow is - @emilyraynadesigns (Instagram) and she is an interior designer/architect, and she remodels people’s homes. She does an amazing job of showing a before and after without embarrassing clients, she also shows remodels that can be done on a budget, or even without hiring anyone which helps those who need help in a pinch. I think that this is a good online strategy and just the kindness this girl must naturally give off. I would like to be able to help others and share positivity and kindness through doing so.

  Key concepts and     issues: what main concepts do you are necessary to adhere to for your own     personal conduct online?

I like to follow my own moral code when interacting with others or sharing things via the internet. It is always a good reminder to think about how things that are on the internet never really go away. I also like to try and share a lot of positivity and kindness online, because others may be using as an escape. I think that there is already enough criticism online, and I don’t need to contribute to it.

  What to do and what     not to do: what main concepts do you feel strongly against and want to     make sure you avoid on social media?

I have strong feelings against trends. This means a lot of things to me; trends just contribute to too many negative things than positive. They make people compare themselves to others, it contributes to fast fashion and excessive and unnecessary consumerism and can cause people to act like others and only like what’s popular. I think that trends also can cause problems with algorithms and can make social media managers have to work twice as hard to keep up.

  Bullet point 5-10 core     concepts that you will follow as a practicing social media professional.     Include citations that you used for sources/supports for this.

1.”

Media Messages Shape Our Perceptions of Reality”

2.” Different Audience, Different Understanding of the Same Message”

3. strive for engagement

4.”read the room”

5.”  Respond to humans, fast”

6. Social Media is Mostly a Visual Medium

[nummero123]

SEO Content Readability: Mistakes Your Plug-in Won't Detect

To marketers, the term "readability" conjures up images of the well-known WordPress plug-in Yoast SEO. 

If you've never used it, this is a Yoast feature that calculates the reading "difficulty" of a piece of writing using a strange formula.

It then gives suggestions such as shortening sentences, employing a more active voice, and splitting up large portions of text with subheadings.

It's even bold enough to place red or orange bullets next to posts it thinks algorithmically sub-par, but let's not go there.

The bottom line for Yoast is that readability is ranked. However, as technology like NLP advances, the meaning of readability evolves (Natural Language Processing). 

It's taking on a more human appearance. 

In this piece, I'll discuss five techniques to improve your content's human readability, 

which will, in turn, improve its algorithmic readability. They are as follows:

Get rid of the clickbait headlines.

Don't overuse keywords (even if subtle)

Stop over-paragraphing.

Remove the unnecessary bloating of how-to posts.

Refrain from over-formatting.

Associated with mercy

Why HUMAN readability is important

As previously said, readability is important. They claim increased reading comfort:

Enhances the user experience.

This increases the likelihood of your post ranking well in voice search.

Appeals to search engines, which are becoming more sensitive to what humans consider to be worthwhile writing.

I am dubious of any algorithmic approach to writing. 

I have little patience for the Yoast plugin's decrees, writing tools like Grammarly, or anything else that tries to interfere with my writing thoughts (sighs in predictive text).

However, Yoast makes an important point here that is often overlooked in the frantic box-checking process of SEO writing:

 your reader is not the search engine itself, but a human expecting a feeling of language consistency. 

And, because of Google's NLP developments, you can (read: should) consider the search engine to be a person to some level.

Focusing on keyword rankings is an excellent strategy for driving traffic to your website.

But if you lose sight of the fact that you're writing for readers, not Google, you're doing it incorrectly. 

This is the kind of thinking that leads to articles like this one criticizing how search results now appear to cater to the interests of algorithms rather than users.

I'm not kidding. 

To paraphrase the article's irritated author,

 Nick Slater, writing with only the interests of search engines in mind results in "a masterpiece 

by SEO writing standards and an absolute excrement by conventional writing standards." Unsurprisingly, this material irritates people.

How to improve your content readabilty for SEO

On that point, for the benefit of your readers' sanity, here are a few actions you may do to increase your content's human readability.

1. Lose the clickbait titles

We've all grown accustomed to the internet by this point. Perhaps a dramatic blog post title like "[X number] of Content Marketing Mistakes

 That Will Blow Your Mind'" would have succeeded in 2010, but now we just roll our eyes and scroll.

The same is true for any too optimistic prediction of the reader's reaction:

 if I see a title that promises to be "ultimate," "exposed," or "revolutionary," I ignore it. 

(The same goes for headlines that promise unbelievable success as a result of reading that post.)

Make sure you fulfill your promise

My point is that you should not set expectations that you will not be able to meet. 

Consider how you choose your headlines—much like the process of titling a book, what you choose has a significant impact on the reception of a piece. 

(In fact, authors as prolific as Toni Morrison have had their titles changed for financial reasons by their publishers.)

Your instincts matter

Others have investigated what makes a successful headline: 

Danny Goodwin previously revealed his findings after performing A/B tests on headlines for 31 days in an intriguing post I recommend. 

Just keep in mind that, aside from measurable measurements and headline analyzers, your intuition (influenced by your uniquely human grasp of language) will very certainly still be correct.

2. Stop the keyword stuffing (even the subtle kind)

Keyword stuffing at its finest.

 When keyword stuffing occurs, you'll know it's happening because every other phrase has the same phrases, in the classic keyword stuffing way.

Google's cryptic algorithm allegedly now knows better than to use keyword density as a sign of information quality and relevancy, 

but we've all searched for something and encountered a wall of repeated keywords.

 So what if useful information may found amid all the keywords? 

I need to be able to find it, and keyword stuffing is preventing me from doing so.

3. Quit over-paragraphing

What exactly is this, a poem?

If not, why are the line breaks there?

Is this something you're typing on your phone?

Stop throwing your reader off!

Micro-paragraphs are extremely distracting while writing a blog post or an email. 

As soon as they begin to speak, they are abruptly cut off at the windpipe, looking at you wide-eyed and fleetingly.

 I'm not sure what the reasoning is behind this propensity (if it's "better readability," then I grieve for the human race), but the good news is that it's a simple remedy.

There's a time and a place

Simply be more conscious of when you press the ‘enter key—and if, after a second inspection, it appears there is no cause for you to change lines, don't. 

Second-guessing oneself is a necessary step in becoming a better writer, so go ahead and have a full-fledged existential crisis over every minor decision. Congratulations, you are now a writer!

(In all seriousness, if you need a self-editing resource, here it is.)

Consider this example from a blog article about online presence. 

Every syllable in the red box feels like a mean remark. 

Is this some sort of list? 

Are they distinct concepts?

 What is the most important takeaway from this set of lines? 

The key takeaway is isolated as its line in the green box, with supporting information above it.

4. Nix bulking out how-to posts for no reason

People Because people Google everything, 

you'll have to do some mental gymnastics as an SEO writer to come up with efficient responses to everyone's queries: 

You could be practicing "how to be joyful" one day and "how to utilize chopsticks" the next.

You're not in high school anymore

“How to be happy” might merit a lengthy, introspective piece of writing, while “how to utilize chopsticks” could certainly be accomplished in two or three practical steps. 

The important thing to remember is that this isn't high school coursework, 

and you don't need to bulk out your writing to meet a word count.

You could actually come off as condescending

Over-explaining simple activities, on the other hand, 

comes seen as patronizing (not to mention boring) and achieves the reverse of user-friendliness.

 Keep it simple and considerate of your readers and your own time.

5. Resist over-formatting

Anxiety over “immobility” can present itself as excessive formatting. To improve navigation, headers are made larger and may even presented in a different typeface. Great!

Italicize one or two words? Sure.

Is the information condensed down into concise bullet points? That's OK.

Occasional bolding to draw attention to essential information? That's great.

But what if half the text is bright blue with hyperlinks

 if it seems like a piñata of headings and subheadings exploded, or if five distinct fonts compete for your attention on a single page? 

That's not so good.

Skimmable content should not be busy content

There's a reason why typography usually left to the professionals (at least in print): 

they know how to generate a feeling of visual hierarchy, so your attention is drawn exactly where it should be.

Overcompensating with excessive formatting not the way to go for those of us who are not blessed with expert typographic talents.

 Make the most of your headings and bullets, but if more of your content is formatted then not, you should rethink your strategy.

6. Link with mercy

Finally, while internal and external linking are vital, try not to overdo it with the number of links you include in a piece of writing. 

Aim for no more than two links in a single paragraph—otherwise, 

you risk distracting the reader. 

If you have a lot of relevant materials to share, try including them at the bottom of a post as recommended reading.

Use links strategically

But, more importantly, be cautious about the types of links you include in your posts. 

You may not have complete control over what you must link to as part of your profession,

 but you do have control over how you use links within the content.

For example, in this post, all links point to

a) The definition of a phrase to which it is related, in case clarification is required,

b) The source of a particular claim, or

b) I mention a more in-depth guide to a similar topic in passing. When I mentioned noodles, I didn't link to a random chopsticks post, instead uncomfortably ignoring it and moving on, allowing the unacknowledged irrelevant link to silently scowl at us both.

Relevancy is key

You would think that if I worked for a random chopsticks brand, 

I'd have no choice but to link to them—but then I wouldn't be writing a marketing post. 

The link would be significant because I'd be writing about chopsticks.

SEO readability is not formulaic anymore

I believe it's evident by now that readability is much more than a formulaic plugin checkbox! As one of the major pillars of good content, the mentality is as important as individual writing decisions. 

Some websites may be able to get away with prioritizing the algorithm's needs for the time being,

 but as the algorithm becomes more complex and (gasp!) 

human-like in its preferences, writing that considers human readability will rise to the top. And it will do so because people will not despise reading it.

Conclusion

It is critical to get a second opinion on whatever you develop before releasing it to the world.

 It should be appealing and simple to consume and believe in for your target audience.

 Make sure your creation moves and inspires people while remaining completely original. 

You can contact Nummero,  top digital marketing agency in bangalore

[newstfionline]

These three strategies can help you master any subject

Jenny Anderson, Quartz, Dec. 21, 2017

I learned a lot in 2017. I learned about how the European Union works, because Britain decided to leave it. I learned what a social media-obsessed presidency looks like.

That was learning that happened to me. I want 2018 to be a year where I can define more of my learning, making it more deliberate and intentional, and hopefully, effective. To that end, I turned to Ulrich Boser, a senior fellow at the Center for American Progress and author of Learn Better: Mastering the Skills for Success in Life, Business, and School, or, How to Become an Expert in Just about Anything.

“The ability to learn effectively might be the most important skill in life,” says Boser. “It’s like the anti-Kryptonite. It gives you the almost magical power of being able to succeed in any field.”

For everyone looking to learn better in 2018, Boser identified three important strategies we can all put into practice right away: finding meaning, developing metacognition, and embracing the power of forgetting.

Find meaning. Research shows that motivation is key to successful learning. So in order to master a new idea, we have to figure out how to make meaning of the subject matter.

“It’s impossible to learn if we don’t want to learn, and to gain expertise we have to see the skills and knowledge as valuable,” Boser writes. “We have to create meaning. Learning is a matter of making sense of something.”

Some people think our brains are like computers: We read something, our brain stores it, and we recall it when we need it. Not quite, says Boser. One illuminating 2002 experiment found that students could successfully use formulas and math to solve an average of 1,500 physics problems, but still lacked a conceptual understanding of the questions they were answering. “People can do things--literally--thousands of times without learning.”

We need to actively engage with information to make it stick. Stopping to say “Why is that?” or even getting an answer wrong helps cement information in the brain.

So while it may make us feel smart to underline and highlight text in a book, it’s far more effective to read for a bit, then stop for two minutes to jot down notes on what you understood. Research from 2014 shows that students who read a passage and then had to recall what they learned, either by writing a paragraph or creating a concept map with what they remembered, retained more of the information than students who just studied the texts without the active retrieval strategies. Forcing them to frame it and write it forced them to make meaning of it.

Another good way to learn? Get answers wrong. Boser was once asked the capital of Australia. He confidently blurted out Sydney, and then Melbourne, moving onto Perth and then every other Australian city he could come up with. (The answer is Canberra.)

This was a very effective way to learn the capital of Australia, Boser says. By messing the answer up, he became more likely to remember the correct answer moving forward. This is called the hypercorrection effect--what happens when you are absolutely sure you know something, and then find out you are wrong. When we’re confronted with our own mistake, Boser says, “We stop and say, why is that?” Thus, the material we learn has more meaning.

The next time you hear an argument, see if you can immediately boil it down to its essence--either in writing, or simply by taking a moment to identify the key takeaways. This may seem time-consuming, but it’s probably less time consuming than reading material, forgetting it, and having to read it again. Make the information you absorb have meaning, and it may stick.

Metacognition. Humans are an overconfident lot. We think we are smarter and better-looking than we actually are, and that we work harder than everyone around us. This is, of course, mathematically impossible. “We don’t do enough to understand the things we don’t know,” Boser writes.

That’s in part because we don’t spend a lot of time thinking about what we do and do not know. As it turns out, thinking about thinking is a highly effective way to improve learning. Metacognition has two aspects, Boser says. There’s the planning: What are my goals and how will I learn this? And there’s the monitoring: Is there another way to do this? How do I measure progress? Why am I doing this?

Dutch researcher Marcel Veenman found that kids with metacognitive skills outperformed those with higher IQs on math tests. He told Boser that in his research, metacognition accounts for 40% of learning outcomes, compared to 25% for IQ. Creating a process for how to plan, monitor, and evaluate learning--not surprisingly--creates deeper understanding. (Teachers are masters of this, of course.)

One study showed that middle schoolers who received training on how to think about problem-solving--as well as another group that received training on problem-solving, as well as how to think about how to plan, monitor and evaluate their own learning--did better on exams, embraced more self-directed learning later in the semester, and were more motivated than peers that did not get metacognition training.

According to the UK’s Educational Endowment Foundation (EEF), which performs studies to try and close achievement gaps, metacognition is one of two of the most effective educational interventions it’s tested. (Feedback is the other.) Students involved in programs designed to improve how they think about thinking accelerated their learning by an average of eight months’ worth of academic progress, with the greatest effects shown by low-achieving and older pupils. And a Stanford researcher developed a 15-minute study hack based on metacognition that lifted B students into getting As. If you’re looking for a way to embrace metacognition, it’s a great place to start.

The power of forgetting. People typically forget 50% of what they learn within 24 hours. According to Boser, this is totally fine. “In short, the research suggests that forgetting is good for learning, not bad, and the more we take advantage of forgetting, the more that we learn.” That’s because when we forget, we have a chance to re-remember. And re-remembering is how we retain information for longer.

A key educational practice that takes advantage of our tendency to forget is called “inter-leaving.” When practice sessions mix up different types of problems, kids tend to learn more than they would doing one kind of a problem at a time. Think of math: Kids typically learn one thing, say, a set of graph problems, followed by another, such as a set of slope problems. They are not required to think about what kind of problem they are solving, which would be helpful when it turns up on a test in no particular order. When we force ourselves to switch back and forth between different bits of information, we forget and then re-remember the material--ultimately absorbing the material better.

One study, by Douglas Rohrer, a professor of psychology at the University of South Florida, showed that kids who studied with problems jumbled up did better than those who did not. More importantly, later in the semester, when the children were tested again, they retained more.

Annie Murphy Paul, writing in Scientific American, describes the results:

After three months all the students were led through a review session, and a day later took a test. The students who had been engaging in interleaved practice got 80 percent of the test questions right, compared with 64 percent on the part of students who had been completing blocked assignments--a not-inconsiderable difference. But the real value of interleaving became apparent when the students were tested a full month after the review session. On that test the interleaved students scored 74 percent, the blocked ones a paltry 42 percent.

This approach flies in the face of how we typically learn information. Find me a student who hasn’t crammed and I will find you a unicorn to fly me home for the holidays. And yet this is the way most kids study.

“We often practice the same thing over and over again,” says Boser. “But when you switch it up, the learning is more generative.” He says students who use a larger pile of flashcards, which space the learning through the sheer volume of cards, improved their learning by 30%. He even found a way to design for it IRL: his son now cuts back on Wednesday homework, and does more on Saturday afternoon (poor kid). The spacing and variation will help his learning--or so they both hope.

There are a lot of misconceptions around learning. Many people believe there are learning styles, even though there is no evidence to support this, or that we learn well without guidance (we don’t).

The truth is that learning is hard work--but to paraphrase Eleanor Roosevelt, it’s the hard things that tend to be worthwhile. We can all be natural learners if, like Boser, we make the time for it, design the right processes, and figure out how to track our progress.

[dreamings-free]

By Hamish Bowles November 13, 2020

THE MEN’S BATHING POND in London’s Hampstead Heath at daybreak on a gloomy September morning seemed such an unlikely locale for my first meeting with Harry Styles, music’s legendarily charm-heavy style czar, that I wondered perhaps if something had been lost in translation.

But then there is Styles, cheerily gung ho, hidden behind a festive yellow bandana mask and a sweatshirt of his own design, surprisingly printed with three portraits of his intellectual pinup, the author Alain de Botton. “I love his writing,” says Styles. “I just think he’s brilliant. I saw him give a talk about the keys to happiness, and how one of the keys is living among friends, and how real friendship stems from being vulnerable with someone.”

In turn, de Botton’s 2016 novel The Course of Love taught Styles that “when it comes to relationships, you just expect yourself to be good at it…[but] being in a real relationship with someone is a skill,” one that Styles himself has often had to hone in the unforgiving klieg light of public attention, and in the company of such high-profile paramours as Taylor Swift and—well, Styles is too much of a gentleman to name names.

That sweatshirt and the Columbia Records tracksuit bottoms are removed in the quaint wooden open-air changing room, with its Swallows and Amazons vibe. A handful of intrepid fellow patrons in various states of undress are blissfully unaware of the 26-year-old supernova in their midst, although I must admit I’m finding it rather difficult to take my eyes off him, try as I might. Styles has been on a six-day juice cleanse in readiness for Vogue’s photographer Tyler Mitchell. He practices Pilates (“I’ve got very tight hamstrings—trying to get those open”) and meditates twice a day. “It has changed my life,” he avers, “but it’s so subtle. It’s helped me just be more present. I feel like I’m able to enjoy the things that are happening right in front of me, even if it’s food or it’s coffee or it’s being with a friend—or a swim in a really cold pond!” Styles also feels that his meditation practices have helped him through the tumult of 2020: “Meditation just brings a stillness that has been really beneficial, I think, for my mental health.”

Styles has been a pescatarian for three years, inspired by the vegan food that several members of his current band prepared on tour. “My body definitely feels better for it,” he says. His shapely torso is prettily inscribed with the tattoos of a Victorian sailor—a rose, a galleon, a mermaid, an anchor, and a palm tree among them, and, straddling his clavicle, the dates 1967 and 1957 (the respective birth years of his mother and father). Frankly, I rather wish I’d packed a beach muumuu.

We take the piratical gangplank that juts into the water and dive in. Let me tell you, this is not the Aegean. The glacial water is a cloudy phlegm green beneath the surface, and clammy reeds slap one’s ankles. Styles, who admits he will try any fad, has recently had a couple of cryotherapy sessions and is evidently less susceptible to the cold. By the time we have swum a full circuit, however, body temperatures have adjusted, and the ice, you might say, has been broken. Duly invigorated, we are ready to face the day. Styles has thoughtfully brought a canister of coffee and some bottles of water in his backpack, and we sit at either end of a park bench for a socially distanced chat.

It seems that he has had a productive year. At the onset of lockdown, Styles found himself in his second home, in the canyons of Los Angeles. After a few days on his own, however, he moved in with a pod of three friends (and subsequently with two band members, Mitch Rowland and Sarah Jones). They “would put names in a hat and plan the week out,” Styles explains. “If you were Monday, you would choose the movie, dinner, and the activity for that day. I like to make soups, and there was a big array of movies; we went all over the board,” from Goodfellas to Clueless. The experience, says Styles, “has been a really good lesson in what makes me happy now. It’s such a good example of living in the moment. I honestly just like being around my friends,” he adds. “That’s been my biggest takeaway. Just being on my own the whole time, I would have been miserable.”

Styles is big on friendship groups and considers his former and legendarily hysteria-inducing boy band, One Direction, to have been one of them. “I think the typical thing is to come out of a band like that and almost feel like you have to apologize for being in it,” says Styles. “But I loved my time in it. It was all new to me, and I was trying to learn as much as I could. I wanted to soak it in…. I think that’s probably why I like traveling now—soaking stuff up.” In a post-COVID future, he is contemplating a temporary move to Tokyo, explaining that “there’s a respect and a stillness, a quietness that I really loved every time I’ve been there.”

In 1D, Styles was making music whenever he could. “After a show you’d go in a hotel room and put down some vocals,” he recalls. As a result, his first solo album, 2017’s Harry Styles, “was when I really fell in love with being in the studio,” he says. “I loved it as much as touring.” Today he favors isolating with his core group of collaborators, “our little bubble”—Rowland, Kid Harpoon (né Tom Hull), and Tyler Johnson. “A safe space,” as he describes it.

In the music he has been working on in 2020, Styles wants to capture the experimental spirit that informed his second album, last year’s Fine Line. With his debut album, “I was very much finding out what my sound was as a solo artist,” he says. “I can see all the places where it almost felt like I was bowling with the bumpers up. I think with the second album I let go of the fear of getting it wrong and…it was really joyous and really free. I think with music it’s so important to evolve—and that extends to clothes and videos and all that stuff. That’s why you look back at David Bowie with Ziggy Stardust or the Beatles and their different eras—that fearlessness is super inspiring.”

The seismic changes of 2020—including the Black Lives Matter uprising around racial justice—has also provided Styles with an opportunity for personal growth. “I think it’s a time for opening up and learning and listening,” he says. “I’ve been trying to read and educate myself so that in 20 years I’m still doing the right things and taking the right steps. I believe in karma, and I think it’s just a time right now where we could use a little more kindness and empathy and patience with people, be a little more prepared to listen and grow.”

Meanwhile, Styles’s euphoric single “Watermelon Sugar” became something of an escapist anthem for this dystopian summer of 2020. The video, featuring Styles (dressed in ’70s-­flavored Gucci and Bode) cavorting with a pack of beach-babe girls and boys, was shot in January, before lockdown rules came into play. By the time it was ready to be released in May, a poignant epigraph had been added: “This video is dedicated to touching.”

Styles is looking forward to touring again, when “it’s safe for everyone,” because, as he notes, “being up against people is part of the whole thing. You can’t really re-create it in any way.” But it hasn’t always been so. Early in his career, Styles was so stricken with stage fright that he regularly threw up preperformance. “I just always thought I was going to mess up or something,” he remembers. “But I’ve felt really lucky to have a group of incredibly generous fans. They’re generous emotionally—and when they come to the show, they give so much that it creates this atmosphere that I’ve always found so loving and accepting.”

THIS SUMMER, when it was safe enough to travel, Styles returned to his London home, which is where he suggests we head now, setting off in his modish Primrose Yellow ’73 Jaguar that smells of gasoline and leatherette. “Me and my dad have always bonded over cars,” Styles explains. “I never thought I’d be someone who just went out for a leisurely drive, purely for enjoyment.” On sleepless jet-lagged nights he’ll drive through London’s quiet streets, seeing neighborhoods in a new way. “I find it quite relaxing,” he says.

Over the summer Styles took a road trip with his artist friend Tomo Campbell through France and Italy, setting off at four in the morning and spending the night in Geneva, where they jumped in the lake “to wake ourselves up.” (I see a pattern emerging.) At the end of the trip Styles drove home alone, accompanied by an upbeat playlist that included “Aretha Franklin, Parliament, and a lot of Stevie Wonder. It was really fun for me,” he says. “I don’t travel like that a lot. I’m usually in such a rush, but there was a stillness to it. I love the feeling of nobody knowing where I am, that kind of escape...and freedom.”

GROWING UP in a village in the North of England, Styles thought of London as a world apart: “It truly felt like a different country.” At a wide-eyed 16, he came down to the teeming metropolis after his mother entered him on the U.K. talent-search show The X Factor. “I went to the audition to find out if I could sing,” Styles recalls, “or if my mum was just being nice to me.” Styles was eliminated but subsequently brought back with other contestants—Niall Horan, Liam Payne, Louis Tomlinson, and Zayn Malik—to form a boy band that was named (on Styles’s suggestion) One Direction. The wily X Factor creator and judge, Simon Cowell, soon signed them to his label Syco Records, and the rest is history: 1D’s first four albums, supported by four world tours from 2011 to 2015, debuted at number one on the U.S. Billboard charts, and the band has sold 70 million records to date. At 18, Styles bought the London house he now calls home. “I was going to do two weeks’ work to it,” he remembers, “but when I came back there was no second floor,” so he moved in with adult friends who lived nearby till the renovation was complete. “Eighteen months,” he deadpans. “I’ve always seen that period as pretty pivotal for me, as there’s that moment at the party where it’s getting late, and half of the people would go upstairs to do drugs, and the other people go home. I was like, ‘I don’t really know this friend’s wife, so I’m not going to get all messy and then go home.’ I had to behave a bit, at a time where everything else about my life felt I didn’t have to behave really. I’ve been lucky to always feel I have this family unit somewhere.”

When Styles’s London renovation was finally done, “I went in for the first time and I cried,” he recalls. “Because I just felt like I had somewhere. L.A. feels like holiday, but this feels like home.”

“There’s so much joy to be had in playing with clothes. I’ve never thought too much about what it means—it just becomes this extended part of creating something”

Behind its pink door, Styles’s house has all the trappings of rock stardom—there’s a man cave filled with guitars, a Sex Pistols Never Mind the Bollocks poster (a moving-in gift from his decorator), a Stevie Nicks album cover. Fleetwood Mac’s “Dreams” was one of the first songs he knew the words to—“My parents were big fans”—and he and Nicks have formed something of a mutual-admiration society. At the beginning of lockdown, Nicks tweeted to her fans that she was taking inspiration from Fine Line: “Way to go, H,” she wrote. “It is your Rumours.” “She’s always there for you,” said Styles when he inducted Nicks into the Rock & Roll Hall of Fame in 2019. “She knows what you need—advice, a little wisdom, a blouse, a shawl; she’s got you covered.”

Styles makes us some tea in the light-filled kitchen and then wanders into the convivial living room, where he strikes an insouciant pose on the chesterfield sofa, upholstered in a turquoise velvet that perhaps not entirely coincidentally sets off his eyes. Styles admits that his lockdown lewk was “sweatpants, constantly,” and he is relishing the opportunity to dress up again. He doesn’t have to wait long: The following day, under the eaves of a Victorian mansion in Notting Hill, I arrive in the middle of fittings for Vogue’s shoot and discover Styles in his Y-fronts, patiently waiting to try on looks for fashion editor Camilla Nickerson and photographer Tyler Mitchell. Styles’s personal stylist, Harry Lambert, wearing a pearl necklace and his nails colored in various shades of green varnish, à la Sally Bowles, is providing helpful backup (Britain’s Rule of Six hasn’t yet been imposed).

Styles, who has thoughtfully brought me a copy of de Botton’s 2006 book The Architecture of Happiness, is instinctively and almost quaintly polite, in an old-fashioned, holding-open-doors and not-mentioning-lovers-by-name sort of way. He is astounded to discover that the Atlanta-born Mitchell has yet to experience a traditional British Sunday roast dinner. Assuring him that “it’s basically like Thanksgiving every Sunday,” Styles gives Mitchell the details of his favorite London restaurants in which to enjoy one. “It’s a good thing to be nice,” Mitchell tells me after a morning in Styles’s company.

MITCHELL has Lionel Wendt’s languorously homoerotic 1930s portraits of young Sri Lankan men on his mood board. Nickerson is thinking of Irving Penn’s legendary fall 1950 Paris haute couture collections sitting, where he photographed midcentury supermodels, including his wife, Lisa Fonssagrives, in high-style Dior and Balenciaga creations. Styles is up for all of it, and so, it would seem, is the menswear landscape of 2020: Jonathan Anderson has produced a trapeze coat anchored with a chunky gold martingale; John Galliano at Maison Margiela has fashioned a khaki trench with a portrait neckline in layers of colored tulle; and Harris Reed—a Saint Martins fashion student sleuthed by Lambert who ended up making some looks for Styles’s last tour—has spent a week making a broad-shouldered Smoking jacket with high-waisted, wide-leg pants that have become a Styles signature since he posed for Tim Walker for the cover of Fine Line wearing a Gucci pair—a silhouette that was repeated in the tour wardrobe. (“I liked the idea of having that uniform,” says Styles.) Reed’s version is worn with a hoopskirt draped in festoons of hot-pink satin that somehow suggests Deborah Kerr asking Yul Brynner’s King of Siam, “Shall we dance?”

Styles introduces me to the writer and eyewear designer Gemma Styles, “my sister from the same womb,” he says. She is also here for the fitting: The siblings plan to surprise their mother with the double portrait on these pages.

I ask her whether her brother had always been interested in clothes.

“My mum loved to dress us up,” she remembers. “I always hated it, and Harry was always quite into it. She did some really elaborate papier-mâché outfits: She made a giant mug and then painted an atlas on it, and that was Harry being ‘The World Cup.’ Harry also had a little dalmatian-dog outfit,” she adds, “a hand-me-down from our closest family friends. He would just spend an inordinate amount of time wearing that outfit. But then Mum dressed me up as Cruella de Vil. She was always looking for any opportunity!”

“As a kid I definitely liked fancy dress,” Styles says. There were school plays, the first of which cast him as Barney, a church mouse. “I was really young, and I wore tights for that,” he recalls. “I remember it was crazy to me that I was wearing a pair of tights. And that was maybe where it all kicked off!”

Acting has also remained a fundamental form of expression for Styles. His sister recalls that even on the eve of his life-changing X Factor audition, Styles could sing in public only in an assumed voice. “He used to do quite a good sort of Elvis warble,” she remembers. During the rehearsals in the family home, “he would sing in the bathroom because if it was him singing as himself, he just couldn’t have anyone looking at him! I love his voice now,” she adds. “I’m so glad that he makes music that I actually enjoy listening to.”

Styles’s role-playing continued soon after 1D went on permanent hiatus in 2016, and he was cast in Christopher Nolan’s Dunkirk, beating out dozens of professional actors for the role. “The good part was my character was a young soldier who didn’t really know what he was doing,” says Styles modestly. “The scale of the movie was so big that I was a tiny piece of the puzzle. It was definitely humbling. I just loved being outside of my comfort zone.”

His performance caught the eye of Olivia Wilde, who remembers that it “blew me away—the openness and commitment.” In turn, Styles loved Wilde’s directorial debut, Booksmart, and is “very honored” that she cast him in a leading role for her second feature, a thriller titled Don’t Worry Darling, which went into production this fall. Styles will play the husband to Florence Pugh in what Styles describes as “a 1950s utopia in the California desert.”

Wilde’s movie is costumed by Academy Award nominee Arianne Phillips. “She and I did a little victory dance when we heard that we officially had Harry in the film,” notes Wilde, “because we knew that he has a real appreciation for fashion and style. And this movie is incredibly stylistic. It’s very heightened and opulent, and I’m really grateful that he is so enthusiastic about that element of the process—some actors just don’t care.”

“I like playing dress-up in general,” Styles concurs, in a masterpiece of understatement: This is the man, after all, who cohosted the Met’s 2019 “Notes on Camp” gala attired in a nipple-freeing black organza blouse with a lace jabot, and pants so high-waisted that they cupped his pectorals. The ensemble, accessorized with the pearl-drop earring of a dandified Elizabethan courtier, was created for Styles by Gucci’s Alessandro Michele, whom he befriended in 2014. Styles, who has subsequently personified the brand as the face of the Gucci fragrance, finds Michele “fearless with his work and his imagination. It’s really inspiring to be around someone who works like that.”

The two first met in London over a cappuccino. “It was just a kind of PR appointment,” says Michele, “but something magical happened, and Harry is now a friend. He has the aura of an English rock-and-roll star—like a young Greek god with the attitude of James Dean and a little bit of Mick Jagger—but no one is sweeter. He is the image of a new era, of the way that a man can look.”

Styles credits his style trans­formation—from Jack Wills tracksuit-clad boy-band heartthrob to nonpareil fashionisto—to his meeting the droll young stylist Harry Lambert seven years ago. They hit it off at once and have conspired ever since, enjoying a playfully campy rapport and calling each other Sue and Susan as they parse the niceties of the scarlet lace Gucci man-bra that Michele has made for Vogue’s shoot, for instance, or a pair of Bode pants hand-painted with biographical images (Styles sent Emily Adams Bode images of his family, and a photograph he had found of David Hockney and Joni Mitchell. “The idea of those two being friends, to me, was really beautiful,” Styles explains).

“He just has fun with clothing, and that’s kind of where I’ve got it from,” says Styles of Lambert. “He doesn’t take it too seriously, which means I don’t take it too seriously.” The process has been evolutionary. At his first meeting with Lambert, the stylist proposed “a pair of flares, and I was like, ‘Flares? That’s fucking crazy,’  ” Styles remembers. Now he declares that “you can never be overdressed. There’s no such thing. The people that I looked up to in music—Prince and David Bowie and Elvis and Freddie Mercury and Elton John—they’re such showmen. As a kid it was completely mind-blowing. Now I’ll put on something that feels really flamboyant, and I don’t feel crazy wearing it. I think if you get something that you feel amazing in, it’s like a superhero outfit. Clothes are there to have fun with and experiment with and play with. What’s really exciting is that all of these lines are just kind of crumbling away. When you take away ‘There’s clothes for men and there’s clothes for women,’ once you remove any barriers, obviously you open up the arena in which you can play. I’ll go in shops sometimes, and I just find myself looking at the women’s clothes thinking they’re amazing. It’s like anything—anytime you’re putting barriers up in your own life, you’re just limiting yourself. There’s so much joy to be had in playing with clothes. I’ve never really thought too much about what it means—it just becomes this extended part of creating something.”

“He’s up for it,” confirms Lambert, who earlier this year, for instance, found a JW Anderson cardigan with the look of a Rubik’s Cube (“on sale at matchesfashion.com!”). Styles wore it, accessorized with his own pearl necklace, for a Today rehearsal in February and it went viral: His fans were soon knitting their own versions and posting the results on TikTok. Jonathan Anderson declared himself “so impressed and incredibly humbled by this trend” that he nimbly made the pattern available (complete with a YouTube tutorial) so that Styles’s fans could copy it for free. Meanwhile, London’s storied Victoria & Albert Museum has requested Styles’s original: an emblematic document of how people got creative during the COVID era. “It’s going to be in their permanent collection,” says Lambert exultantly. “Is that not sick? Is that not the most epic thing?”

“It’s pretty powerful and kind of extraordinary to see someone in his position redefining what it can mean to be a man with confidence,” says Olivia Wilde

“To me, he’s very modern,” says Wilde of Styles, “and I hope that this brand of confidence as a male that Harry has—truly devoid of any traces of toxic masculinity—is indicative of his generation and therefore the future of the world. I think he is in many ways championing that, spearheading that. It’s pretty powerful and kind of extraordinary to see someone in his position redefining what it can mean to be a man with confidence.”

“He’s really in touch with his feminine side because it’s something natural,” notes Michele. “And he’s a big inspiration to a younger generation—about how you can be in a totally free playground when you feel comfortable. I think that he’s a revolutionary.”

STYLES’S confidence is on full display the day after the fitting, which finds us all on the beautiful Sussex dales. Over the summit of the hill, with its trees blown horizontal by the fierce winds, lies the English Channel. Even though it’s a two-hour drive from London, the fresh-faced Styles, who went to bed at 9 p.m., has arrived on set early: He is famously early for everything. The team is installed in a traditional flint-stone barn. The giant doors have been replaced by glass and frame a bucolic view of distant grazing sheep. “Look at that field!” says Styles. “How lucky are we? This is our office! Smell the roses!” Lambert starts to sing “Kumbaya, my Lord.”

Hairdresser Malcolm Edwards is setting Styles’s hair in a Victory roll with silver clips, and until it is combed out he resembles Kathryn Grayson with stubble. His fingers are freighted with rings, and “he has a new army of mini purses,” says Lambert, gesturing to an accessory table heaving with examples including a mini sky-blue Gucci Jackie bag discreetly monogrammed HS. Michele has also made Styles a dress for the shoot that Tissot might have liked to paint—acres of ice-blue ruffles, black Valenciennes lace, and suivez-moi, jeune homme ribbons. Erelong, Styles is gamely racing up a hill in it, dodging sheep scat, thistles, and shards of chalk, and striking a pose for Mitchell that manages to make ruffles a compelling new masculine proposition, just as Mr. Fish’s frothy white cotton dress—equal parts Romantic poet and Greek presidential guard—did for Mick Jagger when he wore it for The Rolling Stones’ free performance in Hyde Park in 1969, or as the suburban-mom floral housedress did for Kurt Cobain as he defined the iconoclastic grunge aesthetic. Styles is mischievously singing ABBA’s “Gimme! Gimme! Gimme! (A Man After Midnight)” to himself when Mitchell calls him outside to jump up and down on a trampoline in a Comme des Garçons buttoned wool kilt. “How did it look?” asks his sister when he comes in from the cold. “Divine,” says her brother in playful Lambert-speak.

As the wide sky is washed in pink, orange, and gray, like a Turner sunset, and Mitchell calls it a successful day, Styles is playing “Cherry” from Fine Line on his Fender acoustic on the hilltop. “He does his own stunts,” says his sister, laughing. The impromptu set is greeted with applause. “Thank you, Antwerp!” says Styles playfully, bowing to the crowd. “Thank you, fashion!”