DIRECTOR'S CUT BY SPIKE LEE: ANGELA BASSETT LOOKS AMAZING FOR W MAGAZINE 2019
Directed by Spike Lee;
Photograph by LaToya Ruby Frazier;
Styled by Costume designer Ruth E. Carter.
by David Amsden
Produced by Meghan Gallagher at Connect the Dots; Production Manager: Jane Oh at Connect the Dots; Photography Assistants: J. Mims, Gregory Brouillette, Giancarlo D’Agastaro; Digital Technician: Adam Kryzer at Milk Studios; Retouching and digital production by black and white on white; Fashion Assistants: Allia Alliata di Montereale, Nadia Beeman, Sharon Chitrit; Set Assistants: Cory Bailey, Sara Gernsbacher, Andrew O’Connell, Brian Rothlisberger, Derek Milton; Production Assistants: Nikki Patrilja, Jeremy Sinclair; Tailor: Carolina Glover. Hair by Randy Stodghill for Oribe at Opus Beauty; Makeup by D’Andre Michael for Dior Beauty; Manicure by Ashley V. Williams for DND. Set design by Gille Mills at the Magnet Agency.
Brief excerpt from cover story by: David Amsden
Spike Lee needed a queen. Three queens, in fact. One in front of the camera, one behind it, another to make sure everything looked and felt just so…
Hence the three queens he had gathered inside a photo studio in Hollywood.
There was Angela Bassett, the actress, whom Lee first directed in Malcolm X, and whom he had chosen specifically for her imperial charisma. “So regal, so majestic,” Lee remarked. There was LaToya Ruby Frazier, the artist acclaimed for her work exploring the intersection of race, family, and place, who also shot the movie posters for BlacKkKlansman. And styling the proceedings was Ruth E. Carter, Lee’s costume designer since School Daze, his second feature, whose intricate work on Black Panther helped give the blockbuster its singular aesthetic and earned her an Oscar nomination. Together, they would spend the day paying tribute to some of Lee’s favorite photographers, including those in his personal collection, like James Van Der Zee, Irving Penn, and Gordon Parks, the late director of the original Shaft, and a hero of Lee’s. The idea was not so much to re-create celebrated images as to channel them into something new, with Bassett starring in a variety of shape-shifting roles—formidable diva, bohemian temptress—as the director saw fit.
Bassett wears a Moschino gown and Moschino Couture gloves; Balenciaga earrings; Toni + Chloë Goutal necklace; stylist’s own stole.
Fendi coat; Nili Lotan dress; Bulgari necklace; Lagos ring; Miu Miu shoes. Beauty note: Embrace the spotlight. Chanel moisturizing Baume Essentiel in Sculpting imparts a showstopping glow via a sleek pearly stick.
Gucci dress; Tiffany & Co. earrings; Bulgari bracelet; Gismondi 1754 ring; Prada shoes.
Bassett pays homage, wearing a Salvatore Ferragamo blazer, blouse, pants, and shoes; Kenneth Jay Lane earrings; Boss pocket square; Chanel necklace; Vendorafa rings; bracelets: Elizabeth Locke, Marina B, Elizabeth Locke (right hand, from top); Vendorafa (left hand).
Gucci dress; Kenneth Jay Lane earrings; Elizabeth Locke ring (right hand); Cartier ring (left hand).
Roberto Cavalli dress; Bijou Van Ness fascinator; Rodarte earrings and bracelet; Marina B gold bracelet; Cartier ring; Miu Miu shoes; stylist’s own stole.
Gucci dress, scarf, feline necklace, fan, and shoes; Jennifer Behr turban; Fox & Bond necklace; Gismondi 1754 ring.