In his photographic work, Brendan prefers taking the time to create a potent single image, which reminds me of how he loves to stare at the smokestacks and the Williamsburg bridge outside his window. In a chunky herringbone Ben Sherman coat (“A knock-off of Dior,” he says) he speaks of preferring, for his films, screenplays based on reality but with an exaggerated, sci-fi dimension. One, that he was creating at the time of this interview, was a speculative story about what happens to jetsetters when they absorb too much radiation from the x-ray machines at airports. So sincere in his quest for authenticity, Brendan appreciates classic Fred Perry shirts and Bailey’s brogues, as well as the Talking Heads, Joy Division, and Roy Orbison. When asked about how he felt about Madonna, he politely responded: “To be honest, I’ve only heard a few of her songs. I haven’t really followed up.”

If you love Brendan, you may also like Nick Fouquet, Nick Cohen and Rogan Gregory.

The two in live in a way that is refreshingly traditional and yet distinctly modern, much like the quaint countryside to which they retreat from their urban lives. Preferring Dostoevsky and the spoken word to Facebook and Twitter, Hassan wears his Dad’s khakis with a unique touch; he rolls up the hem to fine-tune the proportion with a chambray shirt cut up into a vest worn over a t-shirt. Nadia is interested in esoterica; books like The Poetics of Space, films like Fassbinder’s The Bitter Tears Of Petra von Kant and taking photos with film as opposed to digital. She makes kitschy corduroy overalls with a Mickey Mouse belt and sweaters recovered from her childhood seem 21st century. Few can tuck socks into trousers with handmade brogues and possess both a serious stature while remaining hip like Hassan, or exude both a sultry and edgy glamour in a calf-length dirndl skirt with a chopped-off man’s shirt like Nadia.

If you love Nadia & Hassan, you may also like Tat Vateishvili, Freddie Leiba and Desiree Neman.

A StyleLikeU & Marc Baptiste collaboration featuring hair by muse Gerald Decock

“I don’t like to pre-think shit too much– just go with it.” As a photographer, Magda understands the importance of “the moment.” This extends to the rawness of her captivating photography. Having fewer expectations is her most current head space for success and Magda lives her life like she’s taking a photograph. She bought her enchanting house on the spot with her savings for the car of her dreams, a ’68 Chevelle. Today it is her own slice of Americana, a place where she can relax in her red, white, and blue jeans and army jacket and work– and, once she gets her chickens to go with the garden she’s working on (despite some fits and starts– “I’ve got a black thumb,” she says, not discouraged), she’s “never fucking leaving.” She loves waking up to the breeze through the windows, putting on Led Zeppelin, lighting some incense and throwing on a fringe shawl with leopard-print hip-huggers, “How are you ever gonna be a bitch or in a bad mood?” she says. Not to mention the company of her two dogs, Bob and Captain Pickles, both of whom were found while hiking and having lunch respectively. Mr. Pickles chose his own name from several Magda tried out for him.

Magda splits her time between photography and music. “I do not sing. I play guitar. I sit in the corner and headbang a lot,” she says of her music, which is equal parts Black Sabbath and Judas Priest. There are no high heels in her collection of worn-in leather boots and shoes (“Carrying eighty pound amps in heels? Back problems for life!”) and there’s no turning off her instincts as a photographer. When she and her band are being photographed, she’s still looking for control, setting up the shots. A total tomboy who picked up a love for skateboards and dirt bikes in Arizona, Magda was supposed to be a boy named Adam. Neither she nor her parents have any regrets– when she was just learning to skate, she took her Dad to the park to show her what she could do. All he could ask, stunned, was: “How do you just get back up after you fall down all the time?” The answer is obvious to me: Magda says her parents are the coolest people in the world, just like her.

If you love Magda, you may also like Sarah McGovern, Sam Quartin and Louise Ingalls Sturges.

The Never-Ending Story inspired the fantastical bracelet and necklace designed by Clare Bickford-Smith that Saga wears and which, she says, is very her. They are extraordinary pieces, and recall the unusual things that would happen to her as a kid in the forest, a place so beautiful she was sometimes visited by the Icelandic royal family. In a tribal-print ankle dress with a pleated black cape and Miu Miu peep-toes, she could be the subject of one of her most memorable shoots, capturing a traveling caravan in an ancient churchyard. The texture and light of film — as opposed to digital — is important to her as an appreciation of heightened sensuality, just as Chopin is on a rainy day, or reading a book at a cafe instead of going to a party. In pink eyeshadow, thick eyelashes and a mod, knit Jeremy Scott printed dress, Saga truly is the grown-up, modern 60’s version of her childhood fairy tale spent in a far off land called Thingvellir.

If you love Saga, you may also like Natalie Gibson, Kimme Aaberg and Elizabeth Spiridakis.

At the unusually young age of sixteen, Karolina started to venture out into the world, modeling in places as far-reaching as South Africa, Spain, Athens, Paris and London. But despite her worldliness, she is as down to earth as can be, wearing no makeup with a uniform of “solid” high-waisted Levi’s jeans, the signature classic black sweater and hint of bohemian Tibetan hoop earring. Her mom’s comfort in her own natural skin has been a source of great inspiration to Karolina. Drawn both to the spiritual cloistering of a monk and the exploratory bent of a transient, Adam is similar to the two sides of the characters that make a whole in “Naricissus and Goldmund,” one of his favorite books by Herman Hesse. His style is elemental and authentic – most of what he wears is found during his travels and the pieces stick with him for their sentimental value, like the charm necklace that his mother gave him for Karolina that he wears, a found cardigan that his fiancée stitched for him, his first camera, sold to him by a friend for five dollars, which he still uses for his photography, and probably most of all, his unapologetic long locks of hair – he’s always felt that when he cut them for modeling, he lost a part of himself.

Karolina feels that the American Indian engagement ring Adam gave her says everything about the couple’s originality and never in your face style. Her years of traveling reveal the influence of tribal cultures, with her long animal print dress and piled-on eclectic jewels while he keeps it real and elegant in nautical stripes, white jeans and western shirts. “You have to find your stillness and peace and separateness within yourself to be independent and to be whole, to have that individuality, and also to be part of the whole experience of life,” Adam feels. And for Karolina, “It’s only the mind that sets limits.”

If you love Adam and Karolina, you may also like Dustin Hollywood, Rachel Ballinger and Angelica and Ben.

Andrea Mary’s paintings on spoons and in particular, one of a clitoris, speak to her lifelong obsession with the nude and Kenneth Clark’s similarly titled book of archetypal imagery. She has been questioned by others for using tantalizing topics as an easy way to attract attention to her message, but explains that, on the contrary, it takes grueling hours and days to muster up the courage to make herself the focus of such raw and honest work. Shame and embarrassment are reflected in the white skin tones of Andrea Mary’s paintings – partly inspired by the ethereal figures in El Greco masterpieces – and are symbolic of masking and hiding oneself. In her book of photographic and painted self-portraits titled “Witch: The Book of Bananas, Forks, Spoons + Heartbreak,” which took two years to make, she often painted her face white and used clothing that she designed. Among the standouts are her white and black mongolian furs that she wore in an ode to Ralph Lauren with head to toe denim and a witchy Givenchy boot for this shoot.

Fashion was Andrea Mary’s first love before she made the switch to fine art. Andrea Mary’s curated wardrobe, marked by her attraction to Carolyn Bessette Kennedy’s refined glamour, belies Andrea Mary’s once goth fashion designer phase. With platinum and black hair, white face makeup, black eyeshadow, latex and a tattoo that said “motherfucker,” she once did a runway show featuring girls in leather cages with their breasts hanging out. Andrea Mary’s mother – whom she describes as low-maintenance in bellbottoms, a tee and clogs – is her number one muse and has inspired the artist’s current passion for “less is more” style. Feeling more like herself at the present, Andrea Mary imagines that she has the quintessential look of an American painter “without a lot of extras,” whether in an understated black dress or her favorite white Equipment shirt. In the future, as she envisions it, “I am in California or Arizona, because I like to do my artwork outside, and I am wearing a denim shirt, denim jeans and my classic YSL Tribute sandals with a glass of wine and a canvas… ”

If you love Andrea Mary, you may also like Virginie Sommet, Max Vernon, Carly Mark and Liz Ricketts.

So unaffected and relaxed in herself, Maripol shops at Beacons Closet, gets her cashmere at Uniqlo and is responsible for much of the styling of Madonna, including Like a Virgin, Debbie Harry, Grace Jones, Cher and Elton John. She was also the Creative Director of Fiorucci, is a notable Polaroid artist photographer, has directed documentaries like “Crack is Whack” with Keith Haring and was a stylist, muse and actress for Jean Paul Goude. Underneath and despite her success, Maripol says she identifies with Little Red Riding Hood – at six, her mom designed a costume which won a Best Costume award – so much so that the vulnerability of the character inspired the title of her second book. Her beauty is understated in a simple tunic and wedge boots and the tougher biker chick from her early days is visible in leopard and vinyl leggings, while the two parts make whole in a vintage Prada-like dress and neon Sylvia Heisel bolero. Then in angora and lamé, today in a classic v-neck, this profound impresario who had the gift to do everything from booking the post beat generation bands to originating the outfits for the opening of Studio 54 with Antonio Lopez deserves to be center stage.

If you love Maripol, you may also like Rebecca Weinberg, Virginie Sommet and Sam Quartin.

The producer and director of opera in Grethe is apparent in her passionate storytelling of how she acquired her remarkable collection of Azzedine Alaia. With the kind of enchantment that she wishes to convey in the theater, Grethe’s enthusiasm of how her husband and Mr. Alaia had talked their way into the debut of Leonard Bernstein’s A Quiet Place overshadowed the fact that she had actually choreographed it. It was there that the iconic designer became so inspired by Grethe’s Norwegian charm that he promised to send her a wardrobe that would suit her busy New York life. Arthur returned from Paris on his next trip with L.L. Bean bags stuffed full of the structured, yet effortless Alaias. All made earthy by her signature cowboy boots, Grethe makes the silver trench stately and timeless, the white cocoon jacket warm and maternal and the black suit powerful and understated.

Sophie is an accomplished skier and burgeoning fashion photographer. She admires her dad’s talent for relating personally to his subjects as a method of achieving a riveting photograph and the elegance of her mom’s style, but she is very much her own person and definitely not in the shadow of her great role models. More Americana wholesome classic than the European demure tone of her mom, Sophie mixes navy polka dot shorts with a red blazer and a ruffled tan suede coat with denim. Much like Grethe’s ease in dressing, Sophie knows the wisdom of looking unfussy and pulled together. Her white leather Chloe coat, DVF dress and jean shirt are youthful equivalents to the unfailing attire of her mom’s.

If you love Grethe and Sophie, you may also like Frederique van der Wal, Natalie Joos and Alexandria Hilfiger.

If you love Shae, you may also like Byrdie Bell, Kelle Calco and Sabrina Diaz.