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Taylor Swift is no stranger to photo shoots—particularly ones with InStyle. The November issue, available on newsstands and for digital download Oct. 17, marks the fourth time the singer adorns our cover, this time in a top, pants, and earrings by Louis Vuitton. (Previous looks included Burberry Prorsum in 2013, Fendi in 2011, and an Oscar de la Rentagown—straight off the runway—in 2009.)

“The fun thing about today was that they tried to steer clear of any look or any kind of vibe that we’ve previously gone for in the shoots,” Swift says in the behind-the-scenes video above. She may have arrived at N.Y.C.’s Milk Studios in a T by Anthropologie, but—as makeup artist Frank B. put it—she quickly transformed into a high-fashion model, showing off her serious side in a chain-mail dress by Mary Katrantzou and a stretch cady dress by Stella McCartney, among others. Her favorite? A “gorgeous, almost school-girl prep” dress with a glittery pleated panel by Marco de Vincenzo.

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22 Things You Learn Hanging Out With Taylor Swift

She has money in her blood.
Swift's mom, Andrea, was working as a mutual-fund wholesaler in Philadelphia when she met Swift's dad, Scott, who was a client. "They met in a meeting, and he asked her out," Swift says. "He had this farm 40 minutes outside of Philly, and he was throwing this big hoedown, and she came, and that's where they fell in love." As a girl, Swift wanted to be a stockbroker like her dad; she and her brother also took sailing and horseback riding lessons — "just in case we were put in a time machine and had to live in the 1800s."

She used to get drunk and cry about Joni Mitchell.
"When I first started drinking — when I was like 21 — I used to cry about Joni Mitchell all the time after a few glasses of wine," Swift says. "All my friends would know, once I started crying about Joni Mitchell, it was time for me to go to bed."

She actually does curse from time to time.
Although Swift has cultivated a pretty G-rated image, in private she's just like anyone else. At one point she's playing some rough demos of a few new songs on her iPhone when she pulls up one called "I Know Places," co-written with Ryan Tedder. Swift is playing the piano and hits a wrong note when she blurts out, "Fuck!" Blushing, the real-life Swift immediately attempts to cover the speaker on her phone.

She lives in the house Frodo Baggins built.
Earlier this year, Swift moved to Manhattan, where she bought a pair of adjoining Tribeca apartments for a reported $20 million. The building dates back to 1882, when it was built as a warehouse for a sausage dealer — she likes the way it feels like a farmhouse in the city, with lots of wood beams and exposed brick. The apartment was previously owned by Lord of the Ringsdirector Peter Jackson, but Swift says she didn't have to change very much. ("They have really great taste in paint colors.") She did, however, find a new use for one walk-in closet: "Now it's my greeting-card writing room!"

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Taylor Swift's 'Shake It Off' makes record start at radio

Taylor Swift sets a record for the highest debut in the history of Billboard's Adult Pop Songs radio airplay chart, where "Shake It Off" blasts in at No. 9.

On the Pop Songs chart, "Shake" soars in at No. 12, tying the record for the best-ever launch.

The track's kickstart at radio precedes its likely debut atop the airplay/sales/streaming-based Billboard Hot 100 this week. Visit Billboard.com on Wednesday (Aug. 28) when highlights of the chart will post. (All charts, including the full Hot 100, will update online the following day.)

"This historic launch represents impeccable set-up and teamwork with precise execution," says Charlie Walk, executive vp Republic Records, which is promoting "Shake" to pop radio. "Most importantly, it further emphasizes the power of Taylor and her world-class music."

 

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Taylor Swift: "Sexy?, not on my radar!"

She’s gone from ringletted country artist to feminist role model and the world’s most charming pop star. As she returns with her catchiest material yet, she talks awards-ceremony etiquette, autobiographical lyrics and why she puts nice before naughty

 

In Manhattan’s chi-chi Sant Ambroeus restaurant, the pair of smartly dressed women at the next table are making not-so-surreptitious “eek” faces at each other, having clocked that their neighbour for lunch is Taylor Swift. And that’s nothing compared to the commotion gathering outside: wherever Taylor Swift dines, a swarm of fans and paparazzi soon forms on the pavement.

This is normal life for the biggest force in pop right now, a global superstar whose songs soundtrack lives, whose tours sell out stadiums in seconds, and whose every facial expression generates a million tweets. Taylor Swift in 2014 is an extraordinary phenomenon. She began as a ringletted country singer, teenage sweetheart of the American heartland, but between 2006’s eponymous first album and now she’s become the kind of culturally titanic figure adored as much by gnarly rock critics as teenage girls, feminist intellectuals and, well, pretty much all of emotionally sentient humankind. Unlike Beyoncé with her indomitable run-the-world warrior-queen stylings, or Nicki Minaj, with her cartoonified, amplified self and pantheon of alter egos, there is very little image-making going on with Taylor Swift, pop star. Instead, it’s her “realness” that’s made her; as well as, of course, some clever choices and heavy doses of charisma and songwriting talent. She is, as her friend the teenage media magnate Tavi Gevinson put it, nothing less than “BFF to planet Earth”. Which, for one thing, entails talking to planet Earth at a moderate volume.

“When I’m doing a concert, it’s not like, ‘WHAT’S UP LONDONNNNN!’ I pretty much just speak at this level,” she says. As a result, her stadium shows have the confessional good feeling of mass sleepovers and she communicates with her vast audiences “as if I’m talking to them across the dinner table”.

Swift releases an album every two years without fail, which means it’s time for a follow-up to 2012’s Red. We meet in the week before she announces new album 1989 and its lead single, Shake It Off, a breezy, uptempo number about ignoring the haters. She explains: “In the last couple of years I’ve had to come to terms with the fact that anyone can say anything about me and call TMZ or Radar Online or something, and it will be an international headline. You can either go crazy and let it make you bitter and make you not trust people, and become really secluded or rebellious against the whole system. Or you can just shake it off and figure that as long as you’re having more fun than anyone else, what does it matter what anyone else thinks? Because I’ve wanted this life since I was a kid.”

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Taylor Swift Aiming For No. 1 On Hot 100 With 'Shake It Off'

The song looks likely to soar in as her second Hot 100 leader next week. Expect a major "shake"-up atop the Billboard Hot 100 chart next week, as Taylor Swift appears headed for a No. 1 debut with her new single, "Shake It Off."
 
Based on expected massive first-week sales, airplay and streaming, the song looks likely to open atop the ranking. Check out Billboard.com on Wednesday (Aug. 28) when highlights of the chart will post. (The full Hot 100 will update online the following day.)
 
Swift released the celebratory, anti-negativity anthem on Monday (Aug. 18, just after 2 p.m. PT/5 p.m. ET), when she hosted a Yahoo! live stream. "Shake" introduces 1989, Swift's fifth studio album and first since Red two years ago. The set arrives Oct. 27 on Big Machine Records. Here's a look at how her new hit is shaping up in the Hot 100's three measurement metrics.

SALES
According to industry projections, "Shake" could start with more than 475,000 downloads sold in the U.S. in its first week (ending Sunday, Aug. 24). Such a sum would mark the biggest arrival this year, besting Ariana Grande's "Problem," which bowed with 438,000 sold and debuted at No. 1 on the May 17 Digital Songs chart. (It entered the Hot 100 at No. 3 and went on to peak at No. 2 for five weeks.)
 
The last song to start north of 475,000 sold: Katy Perry's "Roar," which debuted atop the Aug. 31, 2013, Digital Songs tally with 557,000. It vaulted 85-2 on the Hot 100 that week ahead of its two-week stay at No. 1.
 
STREAMING
In addition to launching as the top-selling song in the country, "Shake" should begin as the most-streamed in its first week, too. According to preliminary data from Nielsen BDS, "Shake" easily drew the most streams in the U.S. on Aug. 18-19 on Vevo on YouTube: 6.3 million. Meghan Trainor's "All About That Bass" ranks second with 2.7 million streams in that two-day span.
 
"Bass" currently leads Billboard's Streaming Songs chart with 8.1 million U.S. streams overall, with 4.4 million via Vevo on YouTube, in the week ending Aug. 17.
 
While it boasts a strong early lead in Vevo on YouTube streams, "Shake" is not available on on-demand audio services.
 
AIRPLAY
"Shake" is also bound for a monster frame of radio airplay in its first full week of availability. On BDS' building Radio Songs chart, the song ranks at No. 10 with 22 million in all-format audience since Wednesday.

(Because the Radio Songs chart, which powers the airplay component of the Hot 100, follows a Wednesday-Tuesday tracking week, while sales and streaming cover a Monday-Tuesday period, "Shake" debuted on this week's Radio Songs chart at No. 45 with 29 million impressions in its first two days. It was aided by hourly plays on participating Clear Channel and Media Entertainment-owned pop and adult pop radio stations in its first day and a half.)
 
"Shake" currently ranks at No. 9 on both the building Pop Songs and Adult Pop Songs charts (which run Monday-Sunday). It's on track to make a record-setting start on each list, as no song has ever debuted in the top 10 since the tallies launched in 1992 and 1996, respectively.

In all, Swift seems a safe bet to storm in at No. 1 on the Hot 100 next week.
 
Should it rocket to the top, "Shake" would become her second No. 1, following "We Are Never Ever Getting Back Together." The first single from Red vaulted 72-1 on the Sept. 1, 2012, Hot 100 following its first week of availability. It led for three weeks total.

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You shot "Shake It Off" over three days in June, yet no one knew a thing about it until its official release this week. How does something like that happen, and is that harder and harder to do these days when even a random extra in one scene might snap something on his iPhone?
Yes. Two months was a long time with no leaks. You know, I've made over two dozen spots for Apple. They take their secrecy very, very seriously, too, so my producer and I have become pretty practiced at keeping things secure. A series of measures are put into place. Badges and wristbands. Aggressive nondisclosure agreements must be signed. Scary legal announcements regularly made to cast and crew. Cell phones confiscated at the door. We selected a pretty remote sound stage and even placed boom boxes all around the perimeter blasting heavy-metal music, in case you could faintly hear the song during shooting. And then, after all those measures are taken, you kneel and pray.

What was the kernel of a concept that this video sprung from? Was there some sort of idea or visual image or intent that everything else grew out of?
Yes. In all the videos I've done over the years, I'd say pretty much all of them were my own concept. But this basic idea was all Taylor's. We met and she told me that she wanted to make a sort of paean to the awkward ones, the "uncool" kids that are actually cooler than the "cool" kids. She said she wanted to shoot all these styles of dance and then be the individualist dork in the midst of these established genres. And that she somehow wanted her fans involved. I loved that idea, so over the following week or so, we narrowed down our choices for styles of dance. I think she imagined it in more natural settings and I suggested giving it a starker, more minimalist look. And I suggested the idea of incorporating her fans as a climax, for the ending as a kind of surprise.

 

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