Puff Daddy & the Family I'll Be Missing You
Crossing the threshold of Sean Combs's Los Angeles home is an immersive experience. The beginning level is almost entirely glass on two sides; yous can run into the Pacific from every corner. As you stand at the center of the great room with all the glass doors open to the temperate climate, an infinity puddle in front end of y'all bleeds into the edges of the ocean and the heaven. There is a curated Cîroc collection to the right and artfully framed family unit photos to the left. Within moments of entering, a member of his staff offers you a drink and sets out a lovely spread of hors d'oeuvres. A chef waits for you to appear hungry. Music streams overhead, first from Nigeria'due south Afrobeat pioneer Fela Kuti, then Michael Jackson's Off the Wall album. I dub the playlist "Global Black Dopeness" in my heed for how information technology broadcasts the man who lives here. As I wait for Combs to join usa, a steady flow of casually dressed people attend to my comfort. The hospitality is both overt and camouflaged. You will savor yourself here or someone will die trying.
We are coming together on a blustery West Coast day, a Friday. Mr. Combs is hard at piece of work. Emergency calls keep him from joining us correct away, and I wonder what constitutes an emergency for a global celebrity businessman. People scuttle up and down the staircase with a deceptive lackadaisicalness that feels more than L.A. than the Harlem hustle that produced an ambitious young man the world would get-go run across as Sean "Puffy" Combs. His publicist says they used to have summertime Fridays, that mythical thing I have heard of where New Yorkers break early on Friday afternoons to escape the metropolis estrus. For all the trappings of ease, this is clearly still a identify where piece of work gets done.
Combs descends the stairs just equally a house staff person (I have no idea what you lot telephone call a waiter in a individual dwelling house) replaces my first glass of red wine with my first drinking glass of champagne. Impeccably groomed, he still walks like a Harlem dude. It is an attitude as much every bit it is a rhythm, although he does move similar a gymnast or dancer. Combs is wearing the archetype hip-hop compatible that he helped enshrine in our pop imagination: white tee, track pants, and diamonds. A nameplate necklace with "Love" in bejeweled rose and white tones glimmers similar neon pop art. He welcomes me and my assistant with a bear hug. When I mention information technology is one of my first hugs since COVID-nineteen made human contact experience dangerous, he comes back in for another. Sean Combs likes to spread the love.
Later on taking a few more calls and offer a sincere apology for keeping me waiting, Combs moves our chat outside. His instincts for mise-en-scène are on total brandish. We sit down on a wooden bench at the edge of his infinity puddle like sweethearts as he instructs his staff to make the setting "sexy." That means moving a centerpiece of pinkish tea roses from within to our anxiety, for ambient. He calls for an ebony pashmina—not a blanket, he specifically asks for a pashmina—to help me ward off the chill in the air. I am settled, but he thinks I could be more than comfortable. He wraps me in the massive woolen throw like a burrito, fixing the edges to his satisfaction. His hands are elegant and competent, much similar the man himself. I tell him he was obviously raised right, and he concurs easily. "I love the visitor of women and I take care of yous," he says. Information technology is his way.
Warmed within from the wine and outside by the worsted wool, I get downwardly to business. Combs is non hesitant. He knows what he wants to talk about. "I actually sit here every morning, it'due south where I come and I meditate.… I'm not going to lie; this ocean saved my life, inverse my thinking," Combs tells me.
The man who turned hip-hop culture into a global lifestyle brand in the get-become 1990s has a lot to think about during the cultural upheaval of the 2020s. "I am the happiest I've e'er been in life, I express joy the most, I smile the most, I breathe the most," he tells me. In a discussion, Combs has love on his mind.
"Love" is Combs'south latest nom de feather. Born Sean Combs in Harlem in 1969, the 51-year-one-time businessman has had several names through the years. His staff talks about these as eras. I ask Combs if that is how he thinks of them. "Yep, I practice," he says without hesitation. The proper name changes are near the almost-billion-dollar brand he built. Each 1 signals an credo and a strategy. Combs calls them off easily enough. "You lot have the Puff Daddy era, that's like this young, advised, bold hip-hop, unapologetic swagger on a meg and simply fearlessness and really doing information technology for the art and rooted, the only affair I know is hip-hop. I don't know almost changing the earth or annihilation like that as possible." The Puff Daddy era is not just Combs's cultural foundation, information technology is also a defining moment for pop culture.
As the late 1990s were giving way to the 21st century, Sean "Puff Daddy" Combs had taken hip-hop iconography to scale. Much has been made nigh the shiny suits and over-the-top videos that fabricated Bad Boy Records, Combs's eponymous record label, a massive hit factory. Perhaps also much has been made of it, at the expense of understanding what Combs meant in the culture. It is something to which his team is very sensitive—what they might call up of every bit his rightful context. In fairness to the audience, information technology was hard not to exist distracted by the shiny things. They were designed to distract. The visuals, the humbug, and the drama kept us entertained in the 1990s and early 2000s. Simply beneath the showmanship was Combs the innovator. He understood hip-hop equally a lifestyle at a fourth dimension before "influencer" had entered our cultural dictionary. His image looked larger than life in 1999, when consumers watched music videos on television and bought clothes at shopping malls. We were still sending SMS messages on our cellular phones and two-way pagers equally Combs was making hip-hop art that predated visually driven social media culture. He was a GIF machine earlier we knew what a GIF was or how, fifteen years in the future, making viral content could turn anyone into a celebrity. Well-nigh of the celebrities from the Puff Daddy era are locked in a social media liminal space. Try to find, every bit I did recently, an Insta-quality image of your defining pop culture memories earlier 2010. There may be some YouTube video or a few grainy GIFs. You will think the moments equally important, the actors as celebrities, but they were massively huge before nosotros had the engineering science and taste for content. Content is at present rex, and Combs was ane of the first mega-celebrities to plow music, art, fashion, and branding into a content machine.
A search for Puff Daddy's peers on Twitter, Facebook, or TikTok GIF archives turns up little for his 1990s cohort of cultural ambassadors. Suge Knight, Tupac, and Dr. Dre are straight comparisons, merely broader cultural icons like Michael Hashemite kingdom of jordan and Leonardo DiCaprio are likewise examples of celebrities whose stardom seems fossilized in the medium of that time: outdated gossip blogs, periodicals, and Gen Ten memory banks. Bad Male child-affiliated artists are an exception. In that location are clips of Junior M.A.F.I.A. and Lil' Kim and Biggie and Puff himself all over social media. They await equally mod as celebrities who were being built-in the yr that the E Coast-West Coast wars were at their tiptop. Audiences have dragged the Puff Daddy analog iconography into the digital content era because the image that Puff built however looks fresh. That speaks to Combs'south cultural prescience and to his hustle.
Combs talks a lot well-nigh being a hustler. Information technology is the bedrock of his first eras. Information technology is how a young Black man, raised by a single female parent at a time when that overdetermined how picayune the world expected from you, turns himself into a global lifestyle brand. "I always was a hustler, always. My father, my first newspaper route was when I was 12 years old because my mother said she couldn't get no sneakers and I wasn't sometime enough to piece of work," he says. His father was murdered when Combs was two. Still, his begetter'due south legacy of making ends encounter past whatsoever means necessary is foundational to Combs's autobiography. It'south a well-worn vignette, but his father's legacy feels very tactile when he tells it. We are sitting at the edge of an bounding main, and yet Combs can still accomplish back and touch the hunger that shaped his outlook on the earth. At 1 point during our leisurely afternoon together, he takes me into a small-scale studio in the back of his abode. There is a massive moving picture of 22-year-sometime Puffy and 19-year-sometime Notorious B.I.G. standing in pre-gentrified Harlem. He points to himself and says, "Look at him. He was hungry. You tin can't beat a man who still has that hunger just now I got all these resource. He can't lose."
Loss is something Combs knows virtually, even every bit he tries to stand downwards the inevitable toll that losing brings into every life. The Puff Daddy era concluded with violence, loss, and trauma for the culture and for Combs, the man. "Puff Daddy had simply got through East-West state of war. Nobody wanted to get in the room with me. They thought they was going to get shot." That is when Combs started to think of himself in eras: "When I changed names, I put periods on those eras."
The Diddy era was an homage to his brother Biggie, who clowned him about his rhythmic "diddy bop" swagger. "Then after Biggie, I just, and after all of that, I wanted to go into other businesses. And and so Biggie had called me Diddy because of my bop, the style I walk, my swagger, and they got something called the diddy bop, that just, it simply happens to, it's not me, information technology was something earlier me. That's the diddy bop. It's the way a blood brother would walk effectually, walk down the street." The diddy bop story brings to mind the famous Gwendolyn Brooks poem "Nosotros Real Cool." The poem is about that certain brand of Black masculine cool that looks like rebellion when information technology is actually a drastic plea for belonging. Brothers bop to prove that they have value in a world that measures a man past his economic value. Combs put the flow on his drama-laden Puff Daddy era when he ushered in his entrepreneurial era in 2002. Diddy was a moniker based on an idea of Black absurd that, like Combs, wants to evidence to the world what its possessor is worth.
The plough to businessman Diddy is steeped in Combs'due south hustler lore. In actuality, the Diddy era is more akin to neoliberal corporate hustling—branding, acquisitions, and mergers—than it is to street hustling. As hip-hop became the de facto multicultural youth culture at the turn of the century, Combs expanded his definition of the culture to include lucrative deals with liquor companies, an elite way brand, Sean John, founded in 1998, and branded partnerships.
"His business style is intuitive and intense," says hedge fund manager Ray Dalio, who met Combs several years agone at a Forbes consequence; Combs subsequently asked Dalio to mentor him. "He has a natural talent of seeing what is great—great talent in others, neat products, great concepts—and intensely pursues bringing them out. He besides is humble and compassionate. I had no idea how apprehensive he is until I got to know him because his public persona isn't like that," Dalio continues, calculation, "Because he is empathetic, he can feel what others feel which is a neat asset in finding what they would like."
For a younger generation, Diddy is known for at least a half dozen things other than music. Businessman. Celebrity host. Reality boob tube judge. In many ways, Diddy won. He proved that he was more than than a music guy who got lucky. He translated his cultural potency into economic power, with all the complexities that entails. (Though he didn't discuss it, a former employee sued him for sexual harassment and other work-related claims in 2017; they settled the case two years ago. At the time, a Combs representative said, "This is a frivolous lawsuit by a disgruntled ex-employee who was fired for cause." A lawyer for the former employee did non respond to Vanity Fair's inquiry.) Forth the way, he reinvented himself for new audiences while building successful businesses in competitive industries like mode, telecommunications, and engineering.
Despite keeping him relevant and making him a lot of money, something well-nigh beingness in those rarefied spaces did not sit down completely right with Combs. Personal loss shakes him. The mother of three of his six children, Kim Porter, died in 2018. His mentor and friend Andre Harrell died in 2020. He talks freely about how private losses moved him to reconsider his life's work. Combs describes Porter as the love of his life. His daughters want him to settle downwardly and go out of these streets. He knows what you are thinking, but he says there is no reason to expect a redux of the Diddy-Lopez romance. He and J.Lo are just friends. Of the social media post that set tongues wagging over the summertime, he says that it was just a throwback post from a slap-up time in his life. I button him gently on this because the streets desire to know. "It wasn't no trolling involved, that's only my friend. And I don't have nothing to say about her human relationship or her life." Over the several hours nosotros spend together at Combs's home and later on Zoom, it is articulate that if any woman was going to necktie the renowned playboy down, it would have been Porter. "And and then, you know, I had to start to deal with information technology when I lost Kim. 'Crusade I was like, human, you had it. I'yard not maxim I would practise any of it differently. God willing—I would have had more time," he says, then adds, "I await at my life as I got a 2d chance. I'yard on my 2d mountain." Losing Porter brought home for Combs that not only life is fleeting but and so is public acclaim.
As individual traumas brought Combs closer to God, the public traumas that define the 2010s—constabulary brutality, civil disobedience, and political retrenchment—forced him to take a hard look at his legacy. I am amazed when he brings up #MeToo earlier mentioning Black Lives Matter. "If y'all living on this earth and you trying to keep on dealing with this shit, that ain't the way we going to live. And people out at that place that are tired of it. And information technology's non just a Black and white thing. You lot know what I'1000 saying? It'due south merely tired of the way that it doesn't have to be. Similar when they said it was over—when they said in the #MeToo, when it was over, it was over," he says emphatically.
Combs sees #MeToo as a qualified sign of progress and testify that celebrities can modify the globe. "The #MeToo motility, the truth, is that it inspired me. It showed me that you lot can get maximum modify," he says. What Combs wants now is for that maximum change to come for his tribe. Enter the Love era.
I rolled my eyes when I first heard well-nigh Combs's new name, Love. He appear information technology in a social media statement in May and followed it up with a picture of the driver's license that lists Love as his legal middle name. Information technology is easy to be glib about the rebranding. On a lesser man it sounds similar an anthropomorphized "Live Laugh Beloved" sign from a discount decor store. But this is Sean Combs we are talking nearly. He does not ask his people to bring us snacks. He asks them to gear up us upwards a "sexy situation." His instinct for elevating the mundane into an experience is role of his charm and his success. What does he accept planned for the Beloved era? Oh, just a niggling justice and a lot of Blackness capitalism. For Love, those are one and the same.
"Love is a mission," he tells me with all seriousness. Combs is on a mission to atomic number 82 a five-twelvemonth takeover of…something. Perhaps of everything? The details are, shall we say, a little murky, but the passion is there. "I experience like that's one of the biggest missions that will actually shift things. Merely besides that, we—the world—is dissimilar. We accept the net, we have the ability, we accept a culture, I accept the states on a five-year plan." That plan is for Black people, although Combs is careful to say that he loves everyone. He says many times during our talk that Honey is about moving from "me to we," and he has a very clear idea of who is included in that we.
"My people taking fourth dimension to feel like information technology's all right to honey. Take fourth dimension to huddle up your tribe, take fourth dimension to communicate and know your power. Have fourth dimension to heal. You know what I'thousand saying, [taking intendance of] yourself without feeling similar, oh, you lot're going to exist labeled a racist now considering you talk about taking care of yourself." He is on a curlicue. This isn't the Black preacher elegy. It has more fury and a faster cadency. It is like a taut hip-hop verse. Combs wants to model what loving oneself tin can exercise for collective Black activeness. In the wake of #MeToo and Blackness Lives Matter, Combs went looking for guidance. He jumps upward during his recitation on Black love to retrieve a pocket-sized journal. Information technology looks out of place in the abode's curated opulence. The tan, embossed cover has a tiny lock, like a teenager's commencement diary. The unlined pages take quotes written on them in big block letters. Combs flips to the first page. It is a James Baldwin quote: "Dearest does not brainstorm and end the way nosotros seem to retrieve it does. Love is a battle, love is a state of war; dear is a growing upward."
Growing up for Combs has meant coming dorsum to God. Diddy had "gotten so far from God," Combs tells me. He had hunger and vision just it was "so pocket-sized." At present, Combs believes he is stepping into his purpose. "It clicked in and went from me to we, that [I] was sent here not to but do those things that are kind of rooted in personal success only to be able to transfer to nosotros, and do things that are real change and communal success." He drops the periodical on the table as he tells me this. The wind catches the pages to reveal that most of them are bare, equally if he has only started to effigy this matter out. That fabricated me wonder: Who is guiding Combs's growth in his Beloved era?
"I feel like God sent me, God, put on my center, 'What's your purpose?' I was looking at all these things, it's preachers and simply different people talking almost purpose because I was like, man, purpose is something deep. Take I actually constitute my purpose? I know I'm making money and I'm successful and I'1000 irresolute the game and so called, just is that my purpose? And then I actually prayed on it and God told me, 'Your purpose is to play a role in saving the Black race.' So I immediately, I was like, I need to talk to Harry Belafonte."
Harry Belafonte was Martin Luther King Jr.'south confidant and is a bona fide celebrity. Belafonte used his celebrity status to heighten coin for civil rights actions and organizations. He has been vocal almost his disillusionment with modern celebrity'due south lack of social responsibility, especially among Black celebrities. Belafonte'due south 2012 comments that "loftier-profile artists" have "turned their dorsum on social responsibleness" called Combs'southward peer Jay-Z out by proper noun. (Belafonte and Jay-Z have since reconciled their public differences.) The critique could just accept hands been lobbed at Combs. Or, rather, at Puff Daddy and Diddy. He does not name this critique directly, but Combs seems enlightened of Belafonte's penchant for critique. That is, in part, why Combs called Belafonte when God spoke to him nigh his purpose.
Combs says Belafonte was a model for the kind of activism he envisions for this adjacent stage of his public life. "I was like, we were in similar situations. You lot know what I'k maxim? Coming from where we were having a position of ability, existence celebrities, and I was wondering, how did [Belafonte] go so dug into [social action]? And really dedicating his life." He has always been dedicated to something. But whereas young Combs'south dedication was to family unit, friends, and making enough money to buy the kind of freedom he felt like the world was denying him, the elder Combs is dedicated to making that freedom possible for others. He says he looked through "history" and at his own biography during his journeying to the Love era. In that excavation he saw the makings of someone destined to salve his people. "The person that was able to go and do Bad Boy, if he'due south in charge of bringing u.s. together, it sounds like, 'That's the right motherfucker.' "
I believe Combs. I also believe the women in church building who say God told them someone else'south human being is their married man. If they like it, then I love it. Nonetheless, if I could ask the women in church 1 thing, it would be the same thing I tried to ask Combs with niggling success: I believe God told you that you have been chosen…only did he tell everyone else?
Sean "Love" Combs is a man standing at the crossroads of several bounding main changes. He is a not-so-young man whose legitimacy as a cultural icon hinges on his power to gate-proceed youth civilization. The influencer culture has taken the prototypes that Combs helped introduce and mixed commerce with social consciousness. It is no longer enough to look slick or create the newest dance. Today's celebrity has to have a position on climate change, white supremacy, LGBTQ+ equality, and politics. Combs is also a girl dad. He has half-dozen children, iii of whom are fourteen-year-old girls at the time we speak. He wants his daughters to inherit the keys to his kingdom in equal parts with his three sons. Raising a trio of girl bosses tunes a dad into the #MeToo movement. Combs is looking back at the international playboy of his youth and a near time to come where his daughters become young women. And above all, Combs is trying to practice the brand iteration that made him successful in a climate that is openly hostile to what his brand represents. Combs's "Blackness excellence" is, in practice, a commemoration of Blackness capitalism. And, if you lot have not noticed, a lot of people accept labeled capitalism as enemy number one. Information technology is a cultural high wire perhaps as well thin for a diddy bop.
That won't stop Combs from trying. He launched a multifariousness training program with the powerful Endeavor this summer. The 6-week class is dubbed, in true Combs mode, "the Excellence Program," and is designed to support aspiring amusement executives hailing from underrepresented communities. It comes at a time when the entertainment bureau model has come under burn for its lack of racial variety. It is part of Combs'southward desire to utilise his platform for collective skilful. But his understanding of what constitutes good may exist at odds with the communities from whom he draws some of his inspiration.
In the spring of 2021, Combs published an open letter to "corporate America" in which he demanded that companies increase their spending with Black-endemic media businesses, saying that "incremental progress" in advertizement-spend parity is unacceptable. Combs sees himself as advocating for the Black consumer in the "If You Love United states, Pay Us" cannonball. But critics were quick to say his callout was hypocritical, in office because Combs owns Revolt, a cable TV network that courts advertizement dollars. Rapper Noname is the kind of artist who would have been difficult to imagine in Puff Daddy's heyday. Noname is a fiercely contained rapper who, along with other contemporary artists like Adventure the Rapper, rebuffs the traditional tape-label deal equally both an artistic and political statement.
Former Bad Boy artists The LOX and Mase take publicly criticized Combs for trapping them in what they felt were unfair deals in the past. Black capitalism, Noname alleges, would have 1 celebrate Combs's private success as social progress. She said on Twitter that Combs was "shaming white corporations for a capitalist business model he virtually completely replicated." This is non an isolated critique. Information technology is a generational one. Younger audiences are rejecting uncritical boosterism of commercialism. And in a wider swath across pop culture, consumers are demonstrating a willingness to demand more from their para-social besties. That instinct is quite strong among young Black audiences, many of whom participated in Black Lives Matter protests over the last 2 years. Hip-hop artists can still make a vocal like "Party and Bullshit," for certain. But they cannot make it without the audition pushing back on whether the bullshit was consensual and if the party had a purpose.
For his office, Combs tells me that he is not worried about bringing along those who disagree with him. "I tin't get defenseless upwardly in that. I know where my heart is at, and y'all can't but do information technology alone with merely Black people. You got to have all types of allies. And that's i thing I'm good at, I'one thousand good at beingness a unifier, but I'g not going to exist in a room with other tribes that protect themselves and make sure that they direct and not make sure that we straight. Just too, I'thou non a politico, I'm not trying to exist the rex or the dictator of somebody. I'm a boy from Harlem that came here to make a modify. Nosotros all have our story."
Combs's story is a hood Horatio Alger tale. He started from the bottom and at present he is hither, equally it were. Information technology was a hero's tale that fabricated sense for where the culture was in 1999, even where it was in 2005. The 15 years before the 2008 Great Recession were a period of unbridled economical optimism. It was the era of the hustle, and Black youth culture translated it into an ethos, an identity, and an credo. Lester Spence is a professor of political science and Africana studies at Johns Hopkins University. In his book on Blackness neoliberalism, he calls this hip-hop ethos the "Can't Knock the Hustle" mythology of modern Black capitalism. That myth made sense in the year 2000, when Black America, in particular, was battling the war on drugs by extracting every ounce of opportunity from Bill Clinton'south expanding economy. Before fiscal bubbles started bursting in rapid succession in the 2000s, hustling felt democratic. Anyone with the right dream and the correct grind could brand it out of the hood, sometimes literally merely usually metaphorically. In 2021, hustling doesn't audio fun. It sounds similar the drudgery it is, a ready of coping responses to a hostile social order that has left millions of people behind. That kind of moment requires a dissimilar kind of story and maybe a different kind of storyteller. It isn't that the hustle is dead, but that valorization of the hustle civilization is surely on the ropes. Hip-hop's cadre constituency wants to debate the veracity of hustling when predatory mortgages, student loan debt, rising rent, flat wages, and surveillance police states choke the very life out of Black lives, Blackness hopes, and Black hustle. Combs speaks reverently about Black Lives Matter, calling it "office of the Blackness Renaissance" and very much a "part of the Love era."
"His public face and his entertainment persona doesn't evidence what's going on in his head and behind the scenes," says Dalio. "The manner he uses his God-given talents, fiscal resources, and network to make products people dear to buy, and so uses those resources to brand the globe improve for the African American customs isn't apparent."
The biggest challenge to the Love era is the death of the Black capitalism joie de vivre that produced Diddy's get-go two acts. That doesn't worry Combs. He thinks the revolution is foretold and his place in it has already been written by God. He is more worried that nosotros take talked so much about serious stuff that we forgot to have fun. Fun is Combs's real bag, and he does not desire audiences to forget that above all, Love is supposed to feel proficient. God didn't just give him a purpose. God also brought Combs into alignment with his highest frequency. "The fun role is the frequency," he exclaims. "The fun part [of the Love era] is the music, the beat, the manner, the rhythm, the walk, the talk, the style, the joy, the travels, the places nosotros have never been earlier."
Equally we are winding down our fourth dimension together, Combs keeps returning to the frequency. He wants to create a vibe for the world to groove to. He invites me back for a Soul Food Sunday brunch, calling it an example of the Love-era frequency he is all about creating. He emphasizes that the soul food is good for you and the vibe is adjacent-level. He looks pointedly at the recorder that has been between us all day, always part of his sensation. "I'm coming dorsum into music, you know?" The room pauses for a dramatic shell. Combs plain wants this on the record, and information technology is also clearly news to his team. Ever in control of his narrative, he bug the final give-and-take by telling me that he is starting a new tape label. It will be an all R&B label considering that is the music that makes Love Combs happy.
Equally his publicist looks alarmed at the unplanned disclosure, Combs tells me R&B is where he started. It is time that he comes home, non just for himself but for the culture. "Yes, all R&B label, considering I feel like R&B was abased and it's a office of our African American civilisation. And I'm non signing any artists. Because if you know better, you do better. I'grand doing 50–50 partnerships with pure transparency. That's the affair. [The new characterization is so that] nosotros tin can own the genre; we don't ain hip-hop correct now. We have a chance to—and I'chiliad going to make sure that—we own R&B." And there's the crux of Sean Combs, the man and the culture maker. He believes winning is his birthright, and he wants to share that with the world. It has worked before, and Combs is betting that he can brand information technology work once again. To hear him tell it, all we need is love.
HAIR, MARCUS P. HATCH; Preparation, LUCIA RODRIGUEZ (SEAN COMBS). Hair, SHANNA ANISE THOMASSON; MAKEUP, ASHLIE DOXEY (CHANCE COMBS, D'LILA STAR COMBS, JESSIE JAMES COMBS). TAILOR, TATYANA CASSANELLI. Ready DESIGN, BETTE ADAMS. PHOTOGRAPHY ASSISTANTS: BYRON NICKLEBERRY, KENDALL PACK, WILLIAM AZCONA, CHRIS NOWLING; SET Design Assistants: GEORGE DEACON, JASON VALDEZ, JEREMY REIMNITZ; Style ASSISTANTS: OLOLADE AIYEKU, JUN CHOI, SAMANTHA GASMER; Mail service-PRODUCTION: PICTUREHOUSE+THESMALLDARKROOM; SPECIAL THANKS: BEN BONNET, ZOE MCNICOL, MILK STUDIOS. PRODUCED ON LOCATION BY WESTY PRODUCTIONS. FOR DETAILS, GO TO VF.COM/CREDITS.
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