Dress and stole, BOTTEGA VENETA. Pumps, CHRISTIAN LOUBOUTIN Earring (worn throughout), Cyrus's own.
One is 2017's Doll Parts by Amanda Lepore, the transgender, transgressive, glamour-all-thetime nightlife icon. The other is Fashion First, Diane Keaton's photo book dedicated to her quirky borrowed-from-the-boys personal style. Cyrus is wearing a simple black sweater and minimal makeup, her hair slicked back into a braided ponytail, and she's shaking both books with equal urgency. "This," she says emphatically, "is my vibe."
The pairing makes intuitive sense for anyone who has followed Cyrus's career. She's Diane Keaton when she's singing covers in her own backyard in a threadbare T-shirt and striped Beetlejuice jeans, Lepore when she's dancing on the Grammys stage in glittery Bob Mackie with her hair teased to the heavens.
Coat, KHAITE. Briefs, COMMANDO. Tights, WOLFORD. Sandals, MANOLO BLAHNIK.
Ever since her days playing Hannah Montana, the Disney teen superstar with a secret normal alter ego, embracing dichotomy has been a big part of her story. She's built her career on being a spontaneous, down-to-earth Nashville girl who speaks her mind and, at the same time, a gleaming avatar of high-glam womanhood.
We all contain multitudes, but across her long career, Cyrus has contained more than most people.
In fact, on this multiple-hours-long video chat where we have come together to discuss fame, art, and her new music, Cyrus tells me repeatedly that she embraces her contradictions. "I am specifically unspecific," she says. And yet, when she explains why Diane Keaton and Amanda Lepore resonate, she points to their specificity, their unwavering visions of themselves. "They are so consistent," she says. "And as someone who is very inconsistent, I admire them for being so sure of who they are."
This story is from the December 2024 - January 2025 edition of Harper's BAZAAR - US.
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This story is from the December 2024 - January 2025 edition of Harper's BAZAAR - US.
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