vérité documentary Chronicle of a Summer. Chazelle mainly used
documentary-style photography, deploying handheld cameras
operated by a sparse and nimble crew, shooting on the Métro and in
the housing projects. The jazz club itself was the only built-out set.
Neither Holland nor Stenberg had spent much time in Paris before
the show, and had limited grasp of the language. Holland had studied
French in high school and took classes in New York before filming
began, but gained real exposure only once he was on-site with the
mostly French cast and crew. Stenberg had never lived away from Los
Angeles and says that the experience “catalyzed a lot
of independence.” After our interview in a downtown
New York photo studio, she is going apartment-
hunting on the Lower East Side, in Harlem, and in
Fort Greene—where Holland also happens to live.
“After spending six months abroad,” she says, “it
doesn’t really scare me to move somewhere else.”
Holland smiles, listening to his young costar. Although
they have not seen each other since they wrapped,
there’s an ease between them—the product of half a
year spent embodying an emotionally raw father and daughter. “It was
very important that this was a love story between a man and his
daughter,” explains Thorne.
It is also a love story between a man and the rhythms of the city.
The show moves seamlessly between French and English, but the most
and refining songs together. Ballard and composer Randy Kerber (who
also plays one of The Eddy’s band members) wrote 40 original songs
before Thorne even began writing; the story acted almost as a libretto.
The performances—all live—drove the direction of the show: Thorne
created a “wonderful blueprint,” says Chazelle, and then the cast would
“do certain kinds of explorations.” When the actors and real-life jazz
musicians who make up the house band are not performing, the sounds
of Paris provide their own quotidian symphony: the announcement
chime at Charles de Gaulle, the rumble of a laundry machine, the
clatter of shoveled ice. “What it became once we were
on the ground in Paris was really just this minute-to-
minute improvisation,” explains Chazelle.
Sometimes that impromptu revision changed even
the way the characters had been conceived. Stenberg,
in particular, helped develop and add nuance to Julie.
“I was able to identify with Julie’s difficult relationship
with her blackness because she’s been socialized
in this really white environment,” says Stenberg, who
grew up attending a mostly white private school in
L.A. “And then there’s that beautiful flowering that happens when
you’re able to reconnect with who you are and what your culture is.”
The show is preoccupied with loss, but also discovery, and by the end,
Elliot and Julie find their footing both with each other and with
themselves. “I always saw this as a show about grief,” says Thorne,
“and what André and Amandla made clear to me was that this is
also a story about identity.”
“I think ultimately it’s a show about family,” says Stenberg.
Holland nods, then adds, “Second chances.”
“Second chances at life,” picks up Stenberg. “Life goes on in Paris.” @
This is not a show
about “white
people in striped
shirts and berets,”
says Stenberg
RATAJKOW
SKI AND ALDRIDGE: THEO W
ENNER,
VO
GU
E 2016. STILL LIFE: PARKER HUBBARD.
Nine years ago, during her honeymoon
at a plush hotel in Paris, Rachelle Hruska
MacPherson was hoarding the mini products in the
shower—much to her hotelier husband’s dismay. Those
petits plaisirs? “They’re crap,” Sean MacPherson
told his wife. As the hospitality guru behind such New
York stalwarts as the Bowery, the Jane, and the highly
anticipated opening of Hotel Chelsea, among other
destinations, MacPherson would know. “It blew my mind,”
admits Hruska, who designs Lingua Franca’s collectible
sweaters with hand-stitched slogans: Even the most
luxurious hotels often get their amenities through licensing
partners and typically have no control over their quality.
So the 37-year-old shifted her focus from cashmere
to the calendula and chamomile in her brand’s debut
bath-and-body collection, which will be
stocked and available for purchase at most
of MacPherson’s properties. The six-piece
fig-and-driftwood-scented range includes
a shampoo and body wash formulated
with organic aloe vera—and zero sulfates,
parabens, or phthalates—that are packaged
in 100 percent–recycled plastic bottles. A 99 percent–
natural solid soap, made in Vermont and stamped with
Lingua Franca’s signature monogram, has, er, raised the
bar for design enthusiasts and sustainability champions
alike. “It’s about starting a conversation,” says Hruska—
and if that conversation leads to a stand-alone beauty
venture, so be it.—ZOE RUFFNER
Room Service
Lingua Franca branches out into
bath and body care.
ONE FINE STAY
THE LINE FEATURES
NATURAL
INGREDIENTS AND
RECYCLED PLASTIC
PACKAGING.
BEAUTY
VLIFE
222 MARCH 2020 VOGUE.COM
