Meet Ch111oe, Instagram's Final Hot Girl

Today, the niche model opens up about her journey, from being discovered to becoming a full-time muse. She delves into what it takes to be Instagram’s latest phenomenon, creative directing at I.AM.GIA, and discusses her relationships with some of the fashion industry's greatest talents.

Hunter Shires— Hello, hello, hello! What’s good darkweb Pam Anderson? How are you?

Chloe Spence— I’m good, I just got back from my camping trip with my mom and my little sister, which was so much fun. We went to Big Sur. I discovered I’m a survivalist, I can make smores and not get lost in the woods.

You should go on Survivor 47 with Indiana420Bitch and Monibelle. Photographers and models take Fiji!

Oh my god, can you imagine?

How were you found?

I’ve been online since I was a freshman in high school. I started sharing my photos online in 2016 and they gained traction. In 2019, Michael Donovan reached out to me letting me know he wanted to shoot me. He was the first photographer I shot with and we built this amazing relationship. We’d go on these adventures and play together. Once we started shooting, it just felt so natural, like we were creating magic.

What does commitment look like in the Instagram model space? I was really enamored by your dedication to the character the minute we got on set.

My commitment lies in my willingness to adapt. I also believe that my work can reflect the spirit of the times. I aim to capture the current cultural energy in my photos, making them relevant for today’s audience. It’s about creating art that speaks to what’s happening in the world and allowing people to find their own connections or inspirations in that context.

I love how your work is a reflection of certain shifts in culture. How did you score a feature in the recent YZY campaign for their “Wet T-Shirt” collaboration with Mowalola?

Gio Forbice literally texted my photos to Kanye saying, “Chloe for YZY?”. Kanye replied back, “Chloe for YZY.” And then the next minute I’m on a flight to be the first model to shoot for the WET campaign.

When did you and Gio Forbice first connect?

We’ve been friends for a little over 3 years. He asked me to do the shoot for his brand, For Bitches Company, with Monibelle and the campaign went viral. At the beginning of this year, I went to Milan and we met for the first time.

CHLOE wears BRA from VICTORIA SECRET, PANTS by ROCK REVIVAL, HEELS by I.AM.GIA

CHLOE wears TOP, PANTS, and HEELS by DSQUARED2

My friends and I have been calling you “the final girl” of Instagram girls. What do you think about that? What do you believe separates you from the rest?

I love the creative process and collaborating with photographers to bring different characters and ideas to life. As a model, I’m more immersive in the creative process. I’m not just showing up to set, I’m studying the mood board and super curious about it. I’m very malleable and getting into character comes naturally to me. Ultimately, I just enjoy what I do and am grateful that others appreciate it too.

What would people not know that comes with the job?

You have to be a down girl. I’ll be out in the freezing cold laying in snow with minimal clothing on at night time and have to hold a pose for over a few minutes.

Your feet were bleeding on set from all the heels you put on from shot to shot, without any complaints. I didn’t even notice until I looked back at the iPhone BTS images I took. Someone give her a Skechers brand deal.

What’s your favorite physical feature of yours?

I love my dark brown eyes. I like my nose too, but I paid for it. Shoutout Dr. Vladimir Grigoryants for real!

The nose is sickening, let me go and book an appointment with him.

left; CHLOE wears DRESS by DSQUARED2, HEELS by CHRISTIAN LOUBOUTIN, NECKLACE stylist’s own

right; CHLOE wears DRESS by DSQUARED2, BOOTS by ALEXANDER WANG, EARRINGS by DSQUARED2

You have such a synergistic relationship with photographers. Who are some of your favorites to work with?

I mostly shoot with Michael Donovan, Indiana420Bitch, Jayden Murillo, and Monibelle. I think why we work so well is because they're my friends. Those are my people.

It’s very apparent that when you work with these individuals that you have a similar vision, as if you share the same brain. Where do you think your desire to create art comes from?

My desire to create art comes from a deep fascination with the world around me and a drive to express my perspectives and experiences. Ever since I was young, I’ve been drawn to various forms of creative expression. There’s something incredibly fulfilling about bringing an idea to life and sharing it with others. It’s a way for me to connect with people, evoke emotions and contribute to the ongoing dialogue in the art world.

Creatively, what are you invested in right now?

I’m really into making music. I’ve been attempting to produce music on Ableton, but it’s really hard.

Do you have any producers that you’d like to work with? Let’s manifest it.

Christopher Dexter is a huge inspiration to me. I listened to his project “oOoOO” a lot when I was in high school. I’m also into the witch house/ambient vibe and I really want to start making music in that genre.

Do you think controversy within art is inevitable?

If art wasn’t controversial in any way, no one would talk about it. Controversy is a form of art in itself I would think. I believe controversy in art is often inevitable because art is a form of expression that challenges perceptions. It’s also what makes art powerful and transformative. It encourages us to think critically, it also plays a vital role in the evolution and impact of art.

I agree, I mean if you think about art — it can be made based on feelings and feelings aren’t always positive or morally correct on a global scale. What is more important to you: mystique or authenticity?

I think both mystique and authenticity are important to me. I enjoy keeping an air of mystery because it adds depth and intrigue to my work. I’m genuine in my art and what I share, but I also value my privacy. I think people listen more when there’s a little more mystery.

CHLOE wears DRESS by I.AM.GIA, HEELS stylist’s own

As people navigate existing online, the obsession with being perceived as authentic is a huge trend at the moment and even that isn’t always the truest version of self… What do girls like you want out of life?

I’d love to recreate the Dsquared 2010’s ‘Sex Sells’ campaign. I've also always dreamed of being a mom, I feel like that’s one of my big life missions and many psychics have told me this as well.

I was just in LA and it seems like every single person I saw out and about had a drink in their hand. We’re currently in the times of hyper-drink culture, do you have a favorite drink of your own?

The Purple Drink from Cha Cha Matcha, but then I add two shots of matcha. It’s the perfect drink. Literally DoorDash it right now.

I've been visiting some revival theaters while I've been in town. Have you seen any films recently that have particularly inspired you?

Ugh, I wish because I’ve been wanting to get more into film. I don’t remember the last time I turned my TV on.

In your work with IAMGIA, you’ve included some of your signature brutalist sex appeal. How do you feel your aesthetic helps push the envelope for the brand and consumer market?

It’s about pushing boundaries and challenging conventional ideas of beauty and fashion. When you can combine a sort of raw, unapologetic edge with fashion, it creates something unique that captivates and excites the audience.

What team are you betting on to win the WNBA finals this year?

I don’t even know what that is.

Destiny is what is meant to be, and with that being said what do you think your destiny is?

I got my identity stolen once thinking I was chosen to be in an adidas by David LaChapelle campaign, so it’d be cool if that actually happened.

left; CHLOE wears DRESS by DSQUARED2, BOOTS by ALEXANDER WANG, EARRINGS by DSQUARED2

right; CHLOE wears BRA from VICTORIA SECRET, PANTS by ROCK REVIVAL, HEELS by IAMGIA

Fashion

C.P. Company x Manchester City

This makes Manchester City F.C’s new collaboration with C.P. Company even more fitting. Manchester knows its outerwear, and City’s team and staff will be outfitted in full C.P. Company gear for their upcoming Champions League campaign. The range features the perfect rainy-day colors of both C.P. Company (navy blue) and Manchester City (light blue), including the highly coveted ‘Goggle’ jacket. This iconic piece has a unique presence on the terraces, and C.P. Company has long been at the forefront of football fandom and match-day fits. In fact, this collaboration brings C.P. Company’s authentic football journey full circle. In the 80s, English football fans traveled to Europe to support their teams and returned home with hard-to-find gear.

Brands like C.P. Company gained a devoted following that has remained steadfast ever since, and with this new collaboration, that support will only grow & grow. Watch the full video here.

Fashion

Charles Jeffrey LOVERBOY FW24

July 19, 2024

Something strange was happening. Clothes were moving, wriggling, and even making sounds. Bags grew tongues, boots sprouted legs, and hats developed ears. All the items started bearing labels that read ‘Charles Jeffrey LOVERBOY,’ accompanied by a whimsical monster. These peculiar phenomena were detailed in scraps of paper sent by an unknown 18-year-old named Magnus McPewitt.

The tale begins in 1979 when a meteor flashed over the lost Scottish village of Moshkirk, isolating its inhabitants and freezing their fashion in time. In the backdrop of Thatcher's austere Britain, Moshkirk became a time capsule, shielding its community from the outside world's realities. Villagers thrived in this limbo, embracing punk, dancehall, disco, new wave, and post-punk, untouched by the economic turmoil that plagued the rest of the UK.

By Sahir Ahmed
Creative Director Charles Jeffrey
Stylist Ben Schofield
Photographer Alex Petch
Hair Charles Stanley
Makeup Mari Kuno
Movement Kate Coyne
Models Elizabeth, Dylan

Fast forward to 2024, Charles Jeffrey LOVERBOY's F/W 2024 collection draws parallels between Moshkirk's resililence and today's challenges. Amid economic crises, and social upheaval, creativity often flourishes, and FW24 embodies that spirit — an ode to Moshkirk, Scotland and the rebellious subcultures that persist. Drawing inspiration from the whimsical Booness Monster — the heart-stealing serpent that stalks the cold waters near the mythical village of Moshkirk — the collection blends the magical with the absurd, celebrating the brand's playful essence while staying firmly rooted in reality.

The campaign features a punkish Moshkirk beat scored by Charles Jeffrey’s band, transporting listeners back to 1979 with its joyful, clubland aesthetic. The accompanying music video is a visual feast of playful madness: a crocodile drummer, a magical red suit with eyes, and banana peel shoulders. Celebrating its tenth anniversary in 2024, Charles Jeffrey LOVERBOY views AW24 not just as a collection but as a precursor to future endeavors. "It’s joy, it’s color, it’s Scottish magic, it’s playfulness."

The collection features silky black jacquard monogram suits with oversized safety pins, zebra print boots, anarchic yellow zip-up tops, cherry red double-breasted coats, and ethical knitwear adorned with monstrous elements; Charles Jeffrey LOVERBOY’s unique tartan, traditional Argyle, and post-punk aesthetics are woven throughout. Preview the collection below.

Fashion

From Marrakech to Paris, “Line and Expression” Explores Yves Saint Laurent’s Drawing Practice

Yves Saint Laurent: Line and Expression was organized by the Musée Yves Saint Laurent Marrakech and Musée Yves Saint Laurent Paris, with a loan funded by Fondation Pierre Bergé – Yves Saint Laurent. These philanthropic and heritage extensions serve as a means to give back to the city that reimagined Yves Saint Laurent's collections and legacy.

After its opening in Morocco at Musée Yves Saint Laurent Marrakech, Line and Expression found its next home at the Orange County Museum of Art in Costa Mesa. From Morocco to Southern California, the intention was “to bring awareness into the next generation,” as emphasized by Director of Musée Yves Saint Laurent Marrakech, Alexis Sormin. “I know very few institutions in the US or in Europe, or in Africa, that are free to the public.” OCMA’s policy of free admission for all aligned with the mission to increase access and visibility for Saint Laurent’s archives, solidifying its slot as the home for the US premiere for the exhibition.

A prodigy of the late Christian Dior, Saint Laurent shared the same love for hand-drawing his designs. Each piece from Yves Saint Laurent’s collections traces back to a single sketch. In these archival sketches, the essence of certain fabrics and silhouettes, like the soft intricacy of a chiffon-pleated garment, are breathtakingly captured in “simple and pure” lines, to borrow the words of exhibition curator Gaël Mamine.

“Drawing is part of the process of creation,” Mamine says, and for Saint Laurent,-it was the first step. The archival exhibition explores the late draftsman’s eclectic and expressive collections from the period of his life when he reimagined haute couture.

Alexis Sormin further explains that “throughout [Saint Laurent’s] life, he would draw and draw and draw — sometimes redraw.” Even when a model was dressed in the prototypes of Saint Laurent’s garments, rather than “adding or subtracting” over the original sketch, the couturier modified the dress by redrawing the piece.

“He was perhaps more of a traveler by imagination than by movement into space,” Sormin adds. “Marrakech was the only place he would go to very often outside of Paris…and in Marrakech, he drew capriciously.”

LEFT: Pierre Bergé and Yves Saint Laurent, Marrakech, late 1960s. All rights reserved. TOP RIGHT: Yves Saint Laurent in front of the collection boards for a fashion show, 5 avenue Marceau studio, Paris, 1986. All rights reserved. BOTTOM RIGHT: Yves Saint Laurent, Anne-Marie Muñoz and Pierre Bergé in the studio, 5 avenue Marceau, 1977. Photo: Guy Marineau. © Guy Marineau

Yves Saint Laurent was born and raised in French-occupied Oran, Algeria in 1936, and moved to Paris at the age of 18 after winning a competition for young aspiring designers.. Three decades later, the designer had cemented his name in fashion as the protegee of Christian Dior, and at the age of 21 took over as the head designer at Dior after Christian’s death in 1957. When Saint Laurent was conscripted into the French Army in 1960 to fight in the Algerian War. Hospitalized within a month of leaving Paris for a depression induced by the hazing from other soldiers, he learned he had been fired and replaced at the house of Dior. Once he was discharged from service, Saint Laurent returned to Paris, successfully sued the house of Dior for breach of contract, and subsequently founded the house of Saint Laurent with his partner, Pierre Bergé, showing his first collection in 1962.

By 1966, he decided to go on holiday with his Bergé, and the two fell in love with Marrakech, Morocco. The city bustled with tourism after the country gained independence from France the decade prior. After purchasing their first Marrakech home, Dar El-Hanch, Saint Laurent retreated from the world to sketch and architect thousands of timeless designs. Today, Musée Yves Saint Laurent Marrakech sits adjacent to Jardin Majoelle; a garden and villa complex the designer rescued from demolition in the 1980s, which now attracts roughly 800,000 visitors a year.

Gaël Mamine highlighted how the designer worked with his couture studio in Paris, where they analyzed and actualized his sketches into material garments. Designs were translated with fabrics, colors, and silhouettes, distilling into their physical form.

Line and Expression’s architecture integrates Saint Laurent’s design practice and process into the physical exhibition. Following the design process, while wandering away from framed pages, you’ll be met with an elegant and expansive assortment of garments and accessories on display. Ranging in origin from 1963 to 2001, these pieces encapsulate fabrics, colors, and other materials that transcended into physical prototypes. In many ways, these qualities are rooted in Saint Laurent's stays in Morocco. The haute-couture collections at Line and Expression embody that reminder of cultural heritage:lush colors, caftan silhouettes, hooded dresses, rich natural stones, and layering silk fabrics. Exploratory 1970s sketches on display and 1980s haute-couture suits and evening gowns draped with capes speak to the way the courtier introduced more fluidity into his womenswear ensembles. These influences stem from the men’s garments like vests and capes that he saw during his time in Marrakech.

Yves Saint Laurent believed he saw color in a new light during his stays, as Morocco's sun made the hues of everyday Marracech reflect in a new way for the designer. The exhibition showcases the blues, greens, pinks, and yellows that he introduced in monochromatic looks and innovative combinations during that time. The bright colors weaving between the black and white pieces are the mark of Marrakech on Saint Laurent’s legacy after making the city his second home.

Yves Saint Laurent: Line and Expression is on display from July 3rd, 2024 - October 27, 2024, at the Orange County Museum of Art in Costa Mesa, California.