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Vogue US

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March 2025

How does Sabrina Carpenter manage to be modern and nostalgic, girly and glam, sweetly romantic and totally risqué all at the same time? Abby Aguirre meets an irresistible pop conundrum.

- Abby Aguirre

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To fully appreciate the global phenomenon that is Sabrina Carpenter, you have to go to one of her shows. You have to hear with your own ears a sold-out arena chanting the very sexual and ungrammatical lyrics of her nu-disco earworm "Espresso"-"Say you can't sleep, baby I know/ that's that me espresso"-which has 1.8 billion streams on Spotify and is still omnipresent nearly a year after it came out. You have to see her fans, known as Carpenters, squeal when she performs her indie-pop anthem "Juno," especially when she gets to this line: "Wanna try out my fuzzy pink handcuffs?"

You need to behold the dress code at scale. Need to witness thousands of Carpenters decked out in "Brinacore," which tends to involve slinky dresses and miniskirts and short shorts and fishnet stockings and those stacked platform boots called Pleasers. There's a lot of baby blue, a lot of pale pink. Sequins and hearts are encouraged. So are kiss marks. Extra points if they've got one of Carpenter's temporary kiss-mark tattoos, available at the merch booth, stuck to a shoulder or thigh. The look is both exuberantly girly and unapologetically provocative-a cousin of the capital-R romantic trend known as coquettecore, but a lot cheekier.

Carpenter's fan base wasn't built in a day. The former Disney star, now 25, put out five albums between 2015 and 2022. But her sixth, Short n' Sweet, which debuted at No. 1 on the Billboard 200 chart in September and quickly went platinum, has struck a different cultural chord. It's a fluent romp through genres-disco, country, R&B, folk-fused with a droll writing style that seems perfectly calibrated for this moment. With the new album, Carpenter, formerly something of a teen-pop confection, also took an aesthetic turn. In her music videos and on tour, she's been embodying ultrafeminine archetypes, all of them a little retro yet glossed in high sheen.

Vogue US'den DAHA FAZLA HİKAYE

Vogue US

Vogue US

LIFTOFF

On the eve of the release of Marty Supreme, his much-heralded new movie, Timothée Chalamet is as fearless as he's ever been, full of ideas, totally locked in. \"Why not go super hard?\" he asks.

time to read

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Girl around town, Hollywood fixture, beauty entrepreneur—Cassandra Grey has lived many lives. In an 18th-century, upstate New York home, she starts again.

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ON A SILVER PLATTER

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HER STORIES

Two books by monumental photographers offer a prismatic view of womanhood.

time to read

3 mins

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Vogue US

PUSH AND PULL

Can a little strip of tape reverse the inevitable effects of gravity? Lena Dunham contemplates the ixotic promise of an adhesive. Photographed by Steven Klein.

time to read

9 mins

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COCOA LOCO

In her own version of the great international cake-off, Tamar Adler hunts down and cooks up the perfect chocolate slice.

time to read

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With its indomitable heroine and themes of longing and return, Eugene O'Neill's Anna Christie is a challenge and an opportunity.Adrienne Miller reports on a new staging in New York. Photographed by Norman Jean Roy.

time to read

6 mins

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BLAZY OF GLORY

The debut show of Chanel's new creative director, Matthieu Blazy, was both feverishly anticipated and rapturously received. Nathan Heller reports from inside the months-long preparations.

time to read

25 mins

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Vogue US

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GREAT EXPECTATIONS

What does it mean to give and give and give until it's almost all gone? Melinda French Gates and her daughters, Jennifer and Phoebe, in their first-ever joint interview, talk about a life's mission.

time to read

8 mins

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Vogue US

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Out of This World

OUR COVER STORY THIS MONTH needs some explanation but not the man himself.

time to read

2 mins

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