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2011Edit

The Hot Fashion IssueEdit

Editorial by Derek Blasberg and photography by Terry Richardson.

Going GagaEdit

Anticipation isn't the right word. I'm sitting in a small recording studio's lounge in New York, waiting for Lady Gaga to arrive and play her about-to-be-released album, Born This Way, for an hour. We're on Gaga time here.

Then, in an instant, she appears. The 25-year-old former Stefani Joanne Angelina Germanotta is petite in stature but gargantuan in charisma. She is scantily dressed in tights, black underwear, and a black bra under a studded, slashed, and shredded military jacket. Her accessories include fingerless gloves, winged boots, and a spike-covered Hermès Birkin. And, yes, the horns that she debuted Grammy week--and the ones you see in this story--are on full display, protruding from her cheekbones and forehead.

"Gaga!" she announces, extending her black-clawed hand in a ladylike manner. "It is an absolute pleasure to meet you." She points toward a studio, spins around, and marches off.

When we are ensconced in this dungeon of sound, the first topic of conversation is the single "Born This Way," which, when it was released in February, set a new iTunes speed record for going to number one (less than three hours) and was Billboard's 1,000th number-one hit. "It broke all the records!" Gaga cheers, bopping up and down, adding that what she found most remarkable was that the song attracted new fans. "I was happy with the fans I've already got. But it opened this new fan base of people who love the simplicity and joyfulness of it." As the millions of people who have seen the video for "Born This Way" can attest, Gaga devotes as much artistic energy to her visuals as she does her audio. But today she's still editing the Nick Knight--directed opening sequence, where we meet her newest creation, Mother Monster. She offers a sneak peek but warns, "You're not ready!" presumably referring to its awesomeness. "Nick Knight? He's such an asshole," she proclaims, which means he's a genius. And her inspiration for the video's out-of-this-world surrealism? "A lot of weed."

Gaga is happiest, as she says, "living every day somewhere between reality and fantasy at all times." The only tense part of our conversation occurs when I try to transition her fantasy into reality, asking about the new look--a series of sharp bones that protrude from Gaga's shoulders, cheekbones, and temples. How long does it take to apply the makeup and prosthetics to her face and arms?

"Well, first of all," she says, "they're not prosthetics. They're my bones."

Okay, so when did the bones appear?

"They've always been inside of me, but I have been waiting for the right time to reveal to the universe who I truly am."

Did she will them to come out for this album? "They come out when I'm inspired."

Is she worried that this new look will inspire other people to "grow" similar bones?

"We all have these bones!" she says tersely. "They're the light from inside of us. Do you mean body modification?"

Yes.

"No, I'm not concerned about that."

The reason I'm pushing this is that in the past, Gaga has spoken openly about her drug use while at the same time being quick to clarify that she doesn't endorse it. So one can't help but wonder if she has considered that some of her Little Monsters, as she calls her fans, may actually hurt themselves trying to emulate her transformation.

"I haven't hurt myself," she says. Then, with her darkened eyes narrowed, she continues, "I want you to be careful how you view this."

Help me view it then. It's artistic expression," Gaga says. "It's a performance-art piece. I have never, ever encouraged my fans or anyone to harm themselves, nor do I romanticize masochism. Body modification is part of the overarching analysis of 'Born This Way.' In the video, we use Rico, who is tattooed head to toe [including a skull on his face]. He was born that way. Although he wasn't born with tattoos, it was his ultimate destiny to become the man he is today."

And this was Gaga's destiny?

"I have never had plastic surgery, and there are many pop singers who have. I think that promoting insecurity in the form of plastic surgery is infinitely more harmful than an artistic expression related to body modification."

Touché.

"And how many models and actresses do you see on magazine covers who have brand-new faces and have had plastic surgery, while I myself have never had any plastic surgery? I am an artist, and I have the ability and the free will to choose the way the world will envision me."

But can she acknowledge that some people will misinterpret a woman putting horns on her face?

"Trust me, I know that. I think a lot of people love to convolute what everyone else does in order to disempower women. But my fans know me. They would never hurt themselves. And if they have hurt themselves, they come to me and say, 'Gaga, I want to stop, and your music helps me want to stop. Your music makes me want to love myself.' I am in no way promoting sadomasochism or masochism."

That settled, conversation reverts to safer territory: avant-garde fashion. In her early music videos, before she became the darling of the fashion industry and could show up on morning TV dressed in a condom-inspired latex ensemble (to raise awareness for safe sex, of course), Gaga pushed boundaries. Three years ago, before she was a pop icon, she was known as the singer who refused to wear pants. Her relationship with the stylist Nicola Formichetti is one of fashion's great love affairs; she even closed his first womenswear outing as the creative director of the house of Mugler in March dressed as a club-kid bride. She also greatly admires Hussein Chalayan, who designed her "vessel" for the Grammys and who she describes as "an incredible mind and a genius human being. He truly leads the way in the avant-garde world."

Her other fashion hero is the late, great Alexander McQueen. When McQueen comes up, Gaga leans back and a sense of wonder glows from her face. She thinks that after his suicide, McQueen began working through her. "I think he planned the whole thing: Right after he died, I wrote 'Born This Way.' I think he's up in heaven with fashion strings in his hands, marionetting away, planning this whole thing." Supporting Gaga's claim was the decision by the label--not Gaga herself--to move up the release date for "Born This Way," ultimately to the exact day of the one-year anniversary of McQueen's death. "When I heard that, I knew he planned the whole damn thing. I didn't even write the fucking song. He did!"

If McQueen, from beyond the grave, did help Gaga with this record, he had his work cut out for him. After she unlocks her iPod (with some difficulty, given those claw fingernails), she blasts the entire album. It is epic. Gaga wants the listener to be intoxicated by every song, but in different ways. "'Born This Way' is the marijuana to the heroin of the album. The [album's] experience gets massively more intense as you explore it. All the different songs are different kinds of highs."

The song "Marry the Night," which Gaga wrote once she was this superstar she had always dreamed of being, is particularly memorable. She says that once she had become a household name--after winning Grammys, after wrestling with Madonna on Saturday Night Live, after countless magazine covers--she felt pressured to move to the pop-culture mecca that is Los Angeles. "I had all these number-one records, and I had sold all these albums, and it was sort of this turning point: Am I going to try and embrace Hollywood and assimilate to that culture?" Suffice to say, it didn't work out. "I put my toe in that water, and it was a Kegel-exercise vaginal reaction where I clenched and had to retract immediately," she says in a very vivid metaphor. "I ran furiously back to New York, to my old apartment, and I hung out with my friends, and I went to the same bars." On a list of Gaga's passions, there's music, then fame and, somewhere lower, material comfort and cash. When she came back to New York, she returned to her studio apartment, which she says is the size of the recording studio we're sitting in, and it's where she still lives. Asked what she spends her money on (upwards of $62 million a year, according to Forbes), she says it goes to her live shows and her friends. She flew about 20 people to L.A. for the Grammys, and if anyone on tour needs equipment, it comes out of her piggy bank. "I spend my money on my props and my creations. I'm an inventor."

Financial freedom has been a tonic for any emotional fatigue. "The true luxury of my success is that I can do it all on my own terms now, even though the roller-coaster ride is still going." But now she owns the roller coaster. "I own the whole theme park, actually."

What Gaga has realized, and what she is extolling in Born This Way, is that there is more to life than the paparazzi (even though she wrote an entire song devoted to the glamour of being stalked by photographers) and fortune. Is it hard to give up the glamorous life? "It's not if it doesn't mean anything to you," she says. "What means something to me is my music. I don't want to make money; I want to make a difference."

She says she doesn't read tabloids but is amused that they have such a vested interest in her personal life. (She's happy to respond to recent claims: "I'm not engaged, and I'm not a drug addict, but thank you for asking.") But in getting people's attention, Gaga has been universally sensational. In an early video interview, she looks into the camera and uses the word gaga as an adjective. "I've always wanted to be an adjective," she says with a smile. But she adds, "Back then, I was just delusional. I'm going to make a T-shirt that says, I'M NOT A PROPHET, I'M DELUSIONAL."

And what if it hadn't worked out? What if she was still struggling Stefani? Gaga says she'd be just as happy as she is now. "I would still be living next door to my friend Jennifer, playing at the clubs I've always played at. It was never not going to work out for me because I was already living my dream when I was playing music."

Born This Way will have a tour, and after that tour will come another album "and another Grammy performance, and the cycle continues," Gaga says. Is she worried about reaching a saturation point with the media? Nope. "You can quote me on this: People love you when they think you won't be around for very long, and people hate you when they can't get rid of you. But I'm not going anywhere."

The Fall Fashion IssueEdit

Editorial by Lady Gaga, photography of Debbie by Popfest.

Blonde on Blonde: Lady Gaga interviews Debbie HarryEdit

Lady Gaga interviews Debbie Harry about her upcoming album, being an icon and that famous hair color.

I’m just thinking about the first time we met. It was at Carnegie Hall.
I remember I was really nervous around you [laughs]. I listened to your new album, Panic of Girls [out September 13], and I love it, and I have some questions for you. After everything you’ve been through — so many albums, tours, the reality that you’re the most iconic female in rock ‘n’ roll — what is the first thing that runs through your head when deciding the next album you want to write?
I’ve never really done an album that’s a set concept piece. It’s a continuous thought process. Especially when I work with Chris [Stein, Blondie's cofounder], it automatically becomes encapsulated as a story from a particular time, but I guess it’s not so easy to say that it is a concept piece. Mostly I want to reach out and share my experience.
I love that answer, as I’m always obsessing with the concept. One of my favorite songs from your new album is “The End the End.” My favorite lyric is “You’re my one and only chance; let’s walk before we dance.” Is that about finding the person that you spend the rest of your life with, and is “the end” a representation of the end of life? I actually just put out a song called “The Edge of Glory” because I just had my first experience with death, but what does it mean for you?
Yeah, I think you’ve nailed it. It is about having a long-term relationship. It is probably a romantic notion, but it’s true that this is the relationship of your life. It carries on, and you’re willing to stay to the end with this person.
My other favorite, I think, is “Words in My Mouth.” What inspired you to write this song?
Somehow or other, I got hooked up with Shirley [Manson] from Garbage. I met her when she was a wee little girl, and we actually shared the same manager when she did Garbage.
I am such a huge Garbage fan. When I was in middle school, I had a rotation of your albums and Garbage’s albums. I used to put them in my Discman and walk around the block because my mom wouldn’t let me walk more than one block by myself.
That’s so sweet. In any case, she told me that she was looking for a new song, so I wrote the song for her. They didn’t use it in the end. So I did.
It’s hard to make records that you are happy with artistically and then be aware that you have a record label and it must be commercially sold. Tell me more about “China Shoes.” I actually started to cry when I first heard it.
You’re an artist, and you’re feeling things and giving them your own interpretation; we embrace it, and the emotion touches us, and then we apply it to our lives. I mean, even jokingly, you know how women feel about their shoes [laughs]. It becomes very important.
It made me very, very emotional. It reminds me so much of my life, especially when you mention Brooklyn, because I live in Brooklyn. It reminds me of how sometimes I feel that moments in my life are interrupted because I’m so dedicated to my work. I often feel like my shoes are the only part of me that know what I’m doing all the time because they’re always with me. There’s this one pair of boots that I always wear, and sometimes when I’m so alone in my hotel room, I look at them and I think how they really are the only things in my life that know exactly what I’ve been through all day. So is that what the song was about, or was there a different meaning?
I try to put a core of real sensitivity and make the words childish to just say simply, This person is going away, and I’m missing them very much. I’m not going to recover unless they come back soon, and I’m leaving this note in the back of a book because I know you’re going to read it when you are traveling.
That’s so funny because I had a lover who was a writer, and I used to leave him notes in his book, so it meant a lot to me. I know it sounds so crazy that the lyric would fit perfectly to my life, but that song was just really beautiful.
I’m loving it too, and we actually do it now in the show. I’ve seen one of your shows, actually. I went to the Garden. It was fantastic.
Oh, you were at the Garden? Actually, it’s probably best that I didn’t know you were there because I would have been too nervous.
I mean, that’s an extensive show. That’s a whole lot of work.
I can’t wait to see your show. I would say to all the readers that they should buy your album just based on the song “Le Bleu” alone. I just want to turn all the lights off and take a bubble bath and think about love.
Ah, you take bubble baths!
Sometimes [laughs].
I know your bubble dress.
I would take a bubble bath in my bubble dress! Now, this is a more over-arching question, but are you aware of the tremendous effect you had on women when you dyed the underside of your blonde hair black? Because when I experiment with a different blonde, like I did that very yellow blonde and a teal blonde and a lavender blonde, I put a black root in because of you.
I did it for practical purposes because I was always doing my own hair and I didn’t think I could do the back. But I ended up really liking having the back be this sort of dark side of the moon. Because when I was in school, that was one of my nicknames: Moon. It seemed perfect, that here I was with the bright side of the moon and the dark side of the moon.
Did that have anything to do with Pink Floyd?
No [laughs]. Could have been; you know how things seep into our thinking.

Fabulous at Every Age Edit

Editorial by Laura Brown; Photography by Inez and Vinoodh

The Real Lady GagaEdit

A few months ago, Donatella Versace threw open the doors of the Versace archive in Milan, which contains pieces from the glorious, Medusa'd peak of the Gianni years, for Lady Gaga to plunder at will. "It was me and my friends," Gaga remembers of this particular fashion moment. "We were all running around this warehouse laughing and putting on jackets and shoes. We started crying at one point. I've been dreaming of seeing those outfits my whole life."

It's not a secret that Lady Gaga loves to dress up — in Mugler, in Alexander McQueen, in meat. Lately, "there are some amazing emerging kids from Parsons. I've been wearing a lot of young designers," she explains. She wore a custom-made Hussein Chalayan dress in her recent "Yoü and I" video and chuckles that without McQueen, "I'd be naked." But for this shoot, which will soon be seen in a "fashion film" created in collaboration with photographers Inez van Lamsweerde and Vinoodh Matadin, a basically barefaced Gaga is very deliberately dressed down.

While this might seem a departure from more theatrical Gaga garb, she doesn't see the slightest difference. "I don't really view it as 'natural,'" she explains. "I think that artifice is the new reality. It's more about just being honest and sincere to the core of what you do. Whether I'm wearing lots of makeup or no makeup, I'm always the same person inside."

But does she ever look in the bathroom mirror in the morning and think, Here we go again? "Sometimes I do. It all really depends on my mood for the day. But I think the perception that I 'put it on' every day is probably not true."

In Gaga's mind, "putting it on" is subject to interpretation. "Don't you think that what's on the cover of a magazine is quite artificial?" she asks. "There's this idea that it's all natural, but everything's been staged to look natural. It is also an invention. It's just that my inventions are different. I often get asked about my artifice, but isn't fashion based on the idea that we can create a fantasy?"

One could suppose that her little monsters might be disappointed, though, if she started wearing jeans and T-shirts. "I try to not focus on what people expect from me," she says. "I think what has been lovely about my relationship with the public is that they expect something unexpected from me."

What is expected of Gaga is her love for fashion and her ability to use it, quite literally, as a performance enhancer. For all her love of couture — her custom Armani dresses, her epic love story with stylist and Mugler designer Nicola Formichetti, all those supermodular Versaces — "there's this one pair of shoes I've had for years, and they cost like $25. I have such an emotional attachment to the shoes that every time I see them, I can hear the fans and feel the bass coming through the bottom of the stage."

Sometimes, of course, shoes are the most substantial part of a Gaga outfit; her body image is as fearless as her fashion. "I'm very free-spirited," she says, like a Swede in a spa. "Even when I was a kid, I used to run around naked with the babysitter, driving her crazy." She attributes her body confidence to dancing, and "I do yoga, I do Bikram and I run, and I eat really healthy. You know, my work sort of feeds me. I keep in shape by working hard."

Even when she's not touring, Gaga works "about 16 to 20 hours a day. And when I'm alone, I write, I imagine, I create things, and I decide how I want to do my future performances. I don't take much time off."

And due to her crushing travel schedule, Gaga spends a lot of time on her own. "When you're alone as much as I am," she observes, "you become accustomed to your solitude and embrace it." Of late, she's been immersing herself in plays. "I love John Patrick Shanley. And I've been reading some books that I loved when I was in theater school, like Bertolt Brecht. Those books really changed my life."

Gaga has also taken up surfing, which she tried for the first time on a princely two-day vacation to Mexico in August. "I fell off a lot in the beginning," she says, "but one of the surfers said to me, 'Now that you can stand up, just look into the future and enjoy the ride.' I thought that was an interesting metaphor about life."

Gaga tweeted a picture of herself to her 13 million followers, writing, "Yeah, that's me. No heels, baby." She was au natural.

2014Edit

The Big Fashion IssueEdit

Editorial by Harper's Bazaar staff; photography by Terry Richardson.

Gaga On Love and LiesEdit

After one of th emost tumultuous years of her life, pop's biggest star is still white-hot and burning bright. Bazaar quizzes her on the secrets of her survival and finds out why nobody puts Gaga in a corner.

It's not always easy being Lady Gaga—and in 2013, it was especially difficult. For the first time since she emerged from the New York City club ether in 2008, Planet Gaga seemed in peril. Her latest album, ARTPOP, an experimental R&B-tinged effort featuring artwork by Jeff Koons and a controversial duet with R. Kelly, divided critics. She also endured a very public split with her longtime manager, Troy Carter, just a week before the album's release in November—all of which seemed to knock Gaga out of orbit. But 2014 is a new year, and Stefani Joanne Angelina Germanotta is a space oddity of a pop star. After a brief break around the holidays and some well-documented quality time with her boyfriend, Chicago Fire actor Taylor Kinney (and sporting some remarkable early-winter pantless 'n' plaid looks), Gaga is back to being her most inimitably Gaga, with a sparkling new Versace campaign and her upcoming ArtRave tour, which launches later this spring.

How does one account for such resilience, such triumphant unflappability, in the face of turmoil? Bazaar drew up a Proustian little Gaga questionnaire designed to reveal some of the secrets of her extraordinary Gaga-ness. The Lady kindly obliged by answering honestly and fabulously—and she did not disappoint.

HARPER'S BAZAAR: How have you changed in the past few years?

LADY GAGA: I'm actually not very different at all. I work all day, do research, sketch my ideas, prepare for performances. My experience with fame has been the opposite: "How can I stop this from changing me?" I mean I'm not broke anymore—that's good! But today I'm more comfortable with being who I am. When I was younger, I felt pressure to become someone else once I became successful. But it's the intention of the work that's changed. I have fans now. I have a new purpose: to remind them that I am one of them, that we are one another. My consciousness has changed.

HB: What was the first big musical moment in your life?

LG: I went to see Phantom of the Opera with my grandma and my mom when I was very little. The stage, the voice, the music?…Composer Andrew Lloyd Webber has been a massive inspiration to me for some time—the storytelling, that deliciously somber undertone in his music. I just knew that he could see it while he was creating it. It is the same way I experience music.

HB: What's your favorite outfit of all time?

LG: Audrey Hepburn at the derby in My Fair Lady—the giant white hat with flower detail and bonnet, a mermaid lace gown with a giant bow, and a walking stick. I've loved that since I was little. I'll design something like that one day.

HB: Do you keep a lot of clothes that you've worn over the years?

LG: The fashion I've acquired over the years is so sacred to me—from costumes to couture, high fashion to punk wear I've collected from my secret international hot spots. I keep everything in an enormous archive in Hollywood. The clothes are on mannequins, also on hangers and in boxes with a photo of each piece, and there's a Web site where I can go to look through everything. It's too big—I could never sort through it myself! But these garments tell the stories of my life. And then there are the tour pieces. This is the section that is most sacred to me. These are the pieces that have collected energy, joy, and screams from fans all over the world. My fashion is my most prized possession for two reasons: 1) because it is a visualization of all the hard work I've put in to get where I am today; 2) because it is a legend to the encyclopedia of my life. It is exactly what I've aimed to seep into the artistic consciousness of people all over the world—that life is an art form.

HB: What is your home like?

LG: My "home" is a controversial topic. I don't exactly have one. I live all over the world. I keep a small rental in New York, where I hang many of my hats when I come to see my parents and New York pals. It's like a tiny jewel box, covered in rose-gold mirrors, with an oversize pink couch, an expensive vase, a white Marilyn piano, and a boudoir. I do not keep a lot of clothes here—mostly punk wear. And the three most expensive items I've ever purchased, including an actual house: my sable, a strand of diamonds, and my Mikimoto pearls.

HB: How do you think people in the future will feel about fashion right now?

LG: I'm not sure. I imagine that there will be a revival of some of these aesthetics—the more bold ones. Those who have watered down themselves for "sale" might make money now, but they are shortchanging their legend. I always think to myself, How do I want to be remembered? I don't want to be remembered as anything but brave. The only good intention to make money is to help others. I want to be Oprah. I want to be Melinda Gates. If I ever sell products other than my talents, then it will be to give more to others.

HB: What excites you about the idea of performing in space?

LG: I honestly can't wait. I can't wait to design the performance. I'm auctioning off my second seat [on a Virgin Galactic flight] to raise money for the Born This Way Foundation. I want to make a moment that is about much more than me. Performing in space is such an honor. I want to challenge myself to come up with something that will not only bring everyone together but will also have a message of love that blasts into the beyond.

HB: What's something that you're better at now than when you were younger?

LG: I am better with food. I don't have an eating disorder anymore. I'm also better at not letting people take advantage of me. Five years ago, when I spotted someone with a hidden agenda, I allowed them to stay around me. I didn't want to believe it. I thought if I ignored it, then they would eventually see me again—that I'm a human being and not a doll. But it doesn't work that way. I speak up now. I realized that it's my own fault that people take advantage. I should be around people who cherish my talents, my health, my time. I'm not a pawn for anyone's future business. I'm an artist. I deserve better than to be loyal to people who only believe in me because I make money.

HB: Romeo & Juliet or Titanic?

LG: Romeo & Juliet—both the Shakespeare and the Baz [Luhrmann] versions I was changed by profoundly as a child. But I have to say, Titanic is also a classic.

HB: John Lennon or Paul McCartney?

LG: I love Paul so much, but I was and will always be a Lennon girl.

HB: Do you believe in ghosts?

LG: Yes. I have many old souls around me all the time.

HB: What are your guilty pleasures?

LG: Russian hookers and cheap gin. At least I'm honest.

HB: If you were an animal, what would it be?

LG: A unicorn.

HB: What's the myth about you that you'd like to dispel?

LG: That I'm a myth.

HB: What's something true about you that people should know?

LG: That it's not an act.

HB: When was the last time you laughed out loud? At what?

LG: Today. My Taylor [Kinney, Gaga's boyfriend] stole my SpongeBob SquarePants socks from Tokyo.

HB: What was the last thing you talked about with your mother?

LG: I went through a rough time last year. I felt very taken advantage of by people I trusted. I asked my mother, "I work so hard. I never stop. I never say no. Why doesn't this person love me, Mom? Why was this person willing to hurt me to help themselves? Why wasn't I enough? Why is money more important than me? She reminded me to forgive others for not seeing God where I see it. I see God in my fans. She said, "You're hurt because you don't operate this way. You are fiercely protective of your inventions because you are your fans." She helped me understand my own feelings. When someone has pulled the wool over my eyes, I feel that they have pulled the wool over the eyes of millions of fans around the world. She helped me to forgive. You can't force people to have the same world consciousness and awareness as you do.

HB: When was the last time you cried?

LG: Yesterday. I'm creative. I'm always a laugh away from a tear.

HB: If you received a visit from yourself in the future, what would you want to ask your future self?

LG: I'd ask her to do a duet with me—that would be original. Then I would tell her that I'm so happy she didn't die young.

HB: Is there anything you regret doing—or not doing?

LG: Sometimes I get this gut feeling about people—maybe I sense a hidden agenda or that they care for the money more than the message. I wish that I'd listen to that feeling instead of waiting for the truth to rear its ugly head. I'm a smart girl. I'm loyal. But sometimes I'm too loyal. I'm not loyal enough to myself.

HB: How much attention do you pay to what people say about you?

LG: I've never had that type of relationship with art, that sort of hypercritical thing that's going around. I often think people don't know what to think of me, and in fact this is precisely the objective of many of my creations. Even back in the days with Lady Starlight, my original partner, we aimed to bemuse. This feeling of bemusement—it's neither good nor bad. It just is. Whether critics realize it or not, they've been in a very long argument since my public birth. Is it right or is it wrong? This was the intention of those twisted nursery rhyme, I-aim-to-confuse-you verses in my song "Applause." The conversation is still happening because they don't know what to think. They're still scratching their heads. This grappling is my art form—and it's powerful, because whether they like it or not, they're still talking.

HB: What's the biggest thing you've learned about yourself so far?

LG: I became very depressed at the end of 2013. I was exhausted fighting people off. I couldn't even feel my own heartbeat. I was angry, cynical, and had this deep sadness like an anchor dragging everywhere I go. I just didn't feel like fighting anymore. I didn't feel like standing up for myself one more time—to one more person who lied to me. But January 1, I woke up, started crying again, and I looked in the mirror and said, "I know you don't want to fight. I know you think you can't, but you've done this before. I know it hurts, but you won't survive this depression." I really felt like I was dying—my light completely out. I said to myself, "Whatever is left in there, even just one light molecule, you will find it and make it multiply. You have to for you. You have to for your music. You have to for your fans and your family." Depression doesn't take away your talents—it just makes them harder to find. But I always find it. I learned that my sadness never destroyed what was great about me. You just have to go back to that greatness, find that one little light that's left. I'm lucky I found one little glimmer stored away.

HB: Are you happy?

LG: Today, yes.

HB: What do you want written on your gravestone?

LG: "She spread love with every invention."

The Lady Gaga March Cover Wardrobe AuctionEdit

Starting February 18, 2013 at 9PM EST, Harper's Bazaar and the Haus of Gaga auctioned pieces on eBay of clothing that Gaga wore for the March issue cover shoot. All proceeds from the sale will benefit the Born This Way Foundation. The auction will end on February 28, 2014 at 9PM EST.

  1. Custom headpiece and dress by Carolina Herrera made with hand-painted vinyl with grosgrain.
    1. White and black crystal jumpsuit with black stud belt, silver zip down front, and silver zippers at hips by Atelier Versace, length: 53", waist: 28", hips: 36.5", bust: 35". The item was sold with a loose black stud on right side zipper pocket, loss of crystals on right side bust and right arm.
    2. Silver and black crystals helmet with a nylon neck by Atelier Versace, length: 12", width: 31". The item was sold with a few stones that have fallen off the top.
    3. Black, silver crystals and nylon boot covers by Atelier Versace, length: 14", width: 11". It was sold with a few stones that have fallen off or come loose.
  2. Silver technical with 84% polyester and 16% polyurethane jacket by Emilio Pucci
  3. Floor-length off-white plain silk dress by Gareth Pugh, size 6/8 (UK)
  4. Large round space helmet with a clear plastic front and silver metallic back by Alexis Bittar, length: 21", around: 56". The helmet have one metal clip that has fallen off the side.
    1. Iridescent leather and mesh foldover high heels by Christopher Kane
    2. Neon green plexiglass headpiece by Philip Treacy
  5. A skin tight Spandex power mesh nude bodysuit with stainless steel triangular sequins and stainless laser cutout arm and calf pieces by threeASFOUR, bust: 34, waist: 26, hips: 36, size 4 (US) or 34 (EU). The metal laser cut pattern is that of vortex geometry divided up in a topology of triangular cutout shapes and sizes.
    1. Smoke lenses with a shiny silver metal and black plastic frames by Moncler Lunette
    2. Double twill enriched with an embroidery of white ostrich feathers across the top jacket by Moncler Gamme Rouge, size 0 (EU). It has a front opening with an exposed zip. It is a Bermuda knee length made in the duchesse technique.
  6. 5 cover boards signed by Gaga and Terry Richardson, 34.75 inches wide x 42 inches tall. The cover boards are glossy c-prints  mounted to ¼ gator board of the March 2014 subscriber cover.

Iconic Womens IssueEdit

Digital
Photography by Sebastian Faena.

Iconic Musican: Lady GagaEdit

KARL LAGERFELD: Since my Choupette is the most famous cat on the Internet, and your [French bulldog] Asia is the most famous dog on the Internet, should they meet? Does Asia have a personal maid like Choupette does?

LADY GAGA: They most certainly must meet! Asia is very sweet and calm. She would be very gentle with Choupette. She does not have a personal maid yet, but I adore making her little presents and cooking her homemade puppy food.

KL: Choupette talks without words; she communicates with me through her eyes. How does Asia communicate with you?

LG: Asia and I have a very special bond. She also talks a lot with her big, beautiful eyes. Her ears are especially large for a Frenchie, and I can tell she's comfy at home with Mommy because her ears are down. Asia also loves belly rubs, from everyone, and she lies on her back all the time to let me know!

KL: Choupette is my muse. Is Asia your musical inspiration?

LG: Asia is my inspiration for many things. She has really shown me the importance of living in the moment. If I don't, I'll miss a precious look on her face! She is a very romantic and loving animal, and this sort of poetry is what art is all about, I think. Interaction. She loves to sit with me when I record jazz. She never barks or makes noise; she just looks at me with her big ears.

KL: I think animals are better muses than human beings—they'll never fall out of fashion. What do you think of animals?

LG: I love animals. They communicate with us entirely with love, something we all should do. Asia and my love will never be out of fashion—it is unconditional.

KL: What are you into? What's your next fashion "trip"?

LG: I've been recently enjoying looking far and wide for the best vintage fashion I can find. Clothing with a story, a past. Heavy fabrics, jewels, veils. My latest trip is feeling a connection to all women throughout history through fashion. I love wearing clothes knowing that I'm carrying the spirit of previous fashionistas, and living out more of their fantasies, and my own. I believe clothes carry the soul of the designer and the person wearing them forever, so I look for clothes with a soul. Perhaps it's something only I can see. But I know it's real.

KL: Where do you see your look evolving?

LG: I could tell you, but then I'd have to kill you. Who knows? But when I sing jazz with Tony Bennett, I want to wear dresses made for real ladies, turn off all the lights, and have you hear only my voice cutting through the darkness.

KL: I wonder if you'll end up extremely classic one day. Do you think classic can be daring too?

LG: Very.

KL: I can picture you doing "Miss Otis Regrets" with Tony Bennett. I love that song. Please tell me about your new album with him [Cheek to Cheek].

LG: Tony has completely changed my life. It's been a sort of secret that I've been singing jazz since I was 13. I was a jazz singer before I was a pop singer. Tony is such a gentleman. He really treats me like a lady. I feel so healed by my relationship with him because some men were very bad to me when I was young and in the studio. Tony showed me what the elegant and old-school cats were like. Our recording sessions were beautiful, memorable. We've built a deep friendship. There are 60 years between us, but when we sing together there is no distance. This album is pure jazz, songs from the Great American Songbook, played by both Tony and my respective jazz musicians and friends.

KL: I love Billie Holiday's "It's Easy to Remember (and So Hard to Forget)." In life, I always say, most people are easy to forget and hard to remember. Do you like Billie Holiday? What are your musical inspirations for this type of music?

LG: I used to listen to Billie Holiday every Sunday with my mother, but I fell in love with Ella Fitzgerald. She is to me the quintessential jazz vocalist. Her life story, the pain and wisdom, the whiskey in her throaty voice. I felt connected to her because it's these types of women, the lush ladies of swing, who've made me feel like no matter what happens, I can always turn a tragedy into a great performance. That's the romance of theater.

KL: How long is your world tour? Is it around the world in 80 days?

LG: Seven months.

KL: Do you have a different look planned for every city? I dare say, fashion could be your victim.

LG: I don't have my looks planned, but it's a nice compliment to suggest so. Thank you. I bring lots of vintage pieces with me—jewels, hats, bags—and I'm also very fortunate to get sent beautiful couture and runway looks all over the world. I just wear what makes me feel good for the day. Right now I'm enjoying feeling like a lady. Wearing dresses, in love, walking Asia in gardens, singing jazz with Tony Bennett …

KL: I heard you're going to Dubai for the first time. I hope you like it. I loved it when I showed the Chanel Dubai collection there.

LG: I'm very excited to go there, see my fans, give them the show of a lifetime. And, of course, I must explore the local designers and go shopping!

KL: I would call you the world's ever-changing fashion icon. How does it feel to be chosen as Carine Roitfeld and Bazaar's icon? You change all the time, but to me you stay the same Gaga. How do you manage that?

LG: It's an honor for you to say that, Karl. You are very classic. Classic for me is something that changes all the time, like a drifting anchor. Even though I'm changing all the time, I'm always thinking of iconography—which is repetition of images—so I'm always different. I'm in a way wearing the same outfit over and over, but I'm just a different expression of the same woman. When I leave the house, I bear the souls of fashionistas who came before me; I continue to live glamorously to celebrate them. I'm just being me.

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