Clauss came to the rescue. An archiving savant, Clauss worked in-house at Gucci under Tom Ford and was in charge of archiving collections. After 14 years, Clauss segued into working part-time for Ford and began to take on more clients, celebrities and private collectors, that had a range of brands from Marc Jacobs to Calvin Klein and Carolina Herrera. Sevigny was in good hands. Clauss’s knowledge of clothing storage is unbeatable. During our call, she rattles off facts and tips, noting that the biggest mistake people make is leaving dry cleaning bags (“the plastic traps chemicals”) and that space-saving huggable hangers are a no-no (“It’s actually going to ruin the neck and shoulder line of your garment over time.”) For The Wardrobe’s clients, Clauss keeps a moth-free archival facility in Los Angeles that is quite literally museum-worthy. The space is outfitted with temperature and humidity controls and has air filtration.
Clauss and Sevigny worked to preserve some of the actor’s most recognizable pieces, which involved a trip to her storage unit in the actor’s home state of Connecticut. Some of Sevigny’s most touching items included her vintage blue T-shirt from Kids, a leather jacket with Elvis on the back that actor Linda Manz wore in Out of the Blue, and the beaded necklace that she wore in her widely-circulated and now Tumblr-fied senior portrait of high school.Sevigny wearing her blue T-shirt from Kids (1995). Photo: Courtesy of the Everett Collection Sevigny fans will also appreciate that her best glam red carpet moments are now safe, like her black Yves Saint Laurent dress that she wore to the Academy Awards in 2000 and the powder pink and romantically ruffled Valentino dress that she wore to accept a Golden Globe as best supporting actress for her role in Big Love 2010. Also in the mix is the majority of the spring 1996 Miu Miu collection, for which Sevigny starred in the campaign. “The first Miu Miu campaign that I did…that collection was actually designed by Stefano Pilati,” Sevigny says. “I think I have almost the entire collection because they gave it to me as a gift.” Of her most recent looks, Clauss preserved Sevigny’s wedding ensembles. The best part? Moths no more.
Chloë Sevigny in a Valentino dress at the the 67th Annual Golden Globe Awards in 2010.Photo: Courtesy of Getty Images At 22 years old, Hawa has lived many lives over. Born in Berlin, a nomadic childhood saw her move between Guinea, France, and the United States. As a 10-year-old living in New York City, she was offered a place in a highly selective young musicians program at Lincoln Center. Over the following few years, she had her music played at Carnegie Hall by the New York Philharmonic, and traveled with them to see it performed around the globe. Then, at 15, she gave it all up—well, classical music, anyway. And so began phase two of Hawa, the artist. (Born to a Muslim family, she was named after the Qu’ran’s equivalent of Eve.) After quietly beginning to post music online—frank expressions of sexuality laid over silky R&B synths and skittering, trap-inflected beats—she was signed by the cult British alternative label 4AD at 17. In 2020, she had arguably her first breakout moment after performing during Telfar’s critically acclaimed Pitti Uomo fashion show. With a hefty bank of songs behind her, she was poised to release her first album later that year—an album that, she explains, bears little resemblance to the debut record she released last week, titled Hadja Bangoura. “I feel like all the stuff that I was making before, I just personally wasn’t impressed by it,” she says matter-of-factly over a video call from her home in Brooklyn. “It was very, very soft, and it didn’t feel real to me. There was so much chaos happening around me, and I wanted the music to reflect that.” Hawa is such a perfectionist, it turns out, that the record went through three entirely different iterations before it reached the form you can hear today. “I can be very hard on myself and I can obsess over things,” she says in something of an understatement. “It got to a point where it became more of an obsession, and not an obsession in a good way—it was fucking me over. I had to find that perfect balance, which I describe as a structured mess.” She breaks into a hearty laugh: “Also, I just get bored very easily.”
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