A Magazine, Issue 76 by Aïshti

No. 76 FEB/MAR 2015 LL10,000

Wild thing Unleash the sexy side of spring Fashion First resort Music Hot, hot beat Art Compositions Health The rise of the yogasm Books Old Hollywood cocktails Nightlife Big clubs, big reputations Travel Romance in Japan

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Inside No. 76 FEB/MAR 2015

Cityscape

48 Beirut From liquor to lunch 52 London Cocktails and culture 54 Paris Home away from home 56 Milan Shopping, scents and sandwiches 58 New York Don’t be a wallflower 60 Event Ermenegildo Zegna’s empire

Playground

68 Mixed media Sandra Mansour 70 Playlist Hot, hot beat 72 Icon The life of de la Falaise 76 Fantasy Gray area

Fashion

84 News Add spring to your step 86 Collection Weirdly wonderful Melissa 90 Debate Practical or pretty lingerie? 92 Staple Leather for the ladies 94 Dye job From hippies to high fashion 96 Detail Status in strong design 98 Accessories Opposites attract 104 Hot stuff First resort 112 Mod rush Past and present 126 Gold dust Beautiful bohemia 138 Young and jaded Trouble in twos 146 Under her skin A star turn

Beauty

168 Counter The sexy side of beauty 170 Health The rise of the yogasm 172 Diet Combat the common cold 174 Inspiration Bedhead vs. Basic Instinct 176 Look of love Romance isn’t dead

Design

180 Update Pushing the boundaries 182 Trend Sleek, chic and fast 184 History Design in the desert 188 Artisan Rewriting history 190 Boutique Cabinet of curiosities

High Art

196 Exhibitions What’s on view 200 Theme Art’s close community 206 Status The anti-establishment 210 Truth Meet the Johns 212 Nomad The moving museum 216 Choreographer The show must go on 222 Vantage point New York looks east 224 Revolutionary Guy Bourdin

Inside Lifestyle

232 Decadence Big clubs, big reputations 238 Temptation The psychology of adultery 240 Romance L.A. Confidential 242 Sojourn A new vision of Venice 244 Fad Pass the pickles 246 City Snow in Sapporo

Last Word

248 Jewels A sweet treat No. 76 FEB/MAR 2015 LL10,000

Cover Sheâ&#x20AC;&#x2122;s in a Prada jacket and pants, her bag is by Saint Laurent and her necklaces are by Tory Burch and Ileana Makri Photographer Jimmy Backius. Stylist Amelianna Loiacono. Hair and makeup Rory Rice from WM Management. Model Dalia Gunther from Model Management

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Publisher

Tony Salamé Group TSG SAL

Editor-in-chief MacKenzie Lewis Kassab

Art directors

Senior art and production director Maria Maalouf Senior art director Mélanie Dagher Guest art director Raya Farhat Intern Josée Nakhle

Editors

Associate editor Pip Usher Assistant editor Celine Omeira Italy editor Renata Fontanelli UK editor Grace Banks US editor Robert Landon

Writers

Stephanie d’Arc Taylor, Daniel Hilton, Elizabeth Hudson, John Ovans, M. Astella Saw, Mehrnoush Shafiei Jasper Toms, Rich Thornton, Laura van Straatan, Millie Walton, J. Michael Welton

Photographers

Fashion photographers Jimmy Backius, Hana Knizova, Alice Rosati, Emilio Tini Contributing photographers Tony Elieh, Raya Farhat, Nabil Ismail

Stylists

Joe Arida, Magdalena Bryk, Amelianna Loiacono

Millie Walton A writer and journalist based in London, Millie Walton is tapped into the capital’s creative scene. She is a roaming “cool hunter” for Lux Magazine and edits the arts blog Crimson Cocoon.

Magdalena Bryk Fashion stylist Magdalena Bryk has worked on shoots for The Independent, Hunger, Elle, Glamour and, for the first time, A. Currently living in London, she is fashion editor of Puss Puss magazine.

Advertising

Melhem Moussallem, Karine Abou Arraj, Stephanie Missirian

Production and printing

Senior photo producer Fadi Maalouf Printing Dots: The Art of Printing

Responsible director Nasser Bitar

140 El Moutrane St., Fourth Floor, Downtown Beirut, Lebanon, tel. 961.1.974.444, a@aishti.com, aishtiblog.com

spring fling It’s time to retire the blanket capes and bulky coats – winter’s on its way out. Resort collections are ushering in warmer weather with floral prints and maxi dresses, but first, Valentine’s Day has us hot under the collar. We’re marking the season of romance with an issue devoted to all things sexy, sensual and scandalous. Ever had a yogasm? Or wondered how a discreet affair might affect your relationship? From burlesque clubs to bedroom antics, this issue has all bases covered. Round it out with jaunts to Sapporo and Venice, art exhibitions in New York and Beirut, and beauty trends that are sweeping the globe, and you’ll be flirting with spring before you know it. MacKenzie Lewis Kassab

A cityscape

Just in Beirut

The Heartbeat Box Operation (below)

Twenty Seven (above)

It’s better to burn out than fade away – or at least that’s what the brains behind Beirut’s new pop-up bar will have you believe. Wear leather pants to channel your inner rock star. Beirut Souks, tel. 70.220.077, twentyseven.bar

AcotŽ (above)

Acoté serves up an eclectic menu inspired by gourmet capitals around the world. With the culinary scene in Montreal, New York and Casablanca cited as influences, the eatery specializes in gourmet sandwiches, salads and desserts. Madrid St., Mar Mikhael, tel. 01.569.399

The Malt Gallery (above)

The Malt Gallery promises a vast selection of the finest drinks to stock your liquor cabinet. Still can’t tell the difference between scotch and bourbon? Its master classes will educate you sharpish. Independence St., facing Café Najjar, tel. 01.211.999 A 48

Memory Lane (below)

It’s a trip down memory lane at the latest concept space to open in Mar Mikhael. Built in an old garage, this shop offers traditional Lebanese kaak in one corner, coffee in another and a dining area. Armenia St., Mar Mikhael, tel. 01.562.808, founddgroup.com

Lebanon’s Heartbeat Association, committed to providing medical support to all children with congenital heart disease, will celebrate its 10th anniversary in February. Have a heart and support this worthy cause. Starting February across a variety of locations; deposit Heartbeat boxes at Bank Audi March 9-14, heartbeat-lb.org

A cityscape

Just in Beirut

Alexander McQueen (left)

Harry’s Bar (below)

Founded in Venice in 1931, Harry’s Bar has become synonymous with the Bellini, a cocktail of its own invention. A beautiful space complete with dimmed lighting, it’s set to become an institution for Beirut’s upper crust. Gouraud St., Saifi Village, tel. 01.996.600

Prada (above)

Prada’s Cocco Lucido crocodile handbag from the spring/summer 2015 collection has some serious style bite. Be warned – its classic shape and gold detail will attract envious stares on the street. Available at Aïshti stores.

Shogun (right)

Perched on An-Nahar’s rooftop, Shogun serves up sophisticated Japanese cuisine with a contemporary twist. Using the freshest ingredients to dramatic effect, it caters to Beirut’s bigwigs and businessmen. Downtown, An-Nahar Bldg., tel. 03 030352, theshogunlounge.com A 50

Joanna Dahdah (above)

Joanna Dahdah has made quite the impression since launching her jewelry line. Stop by her boutique to check out her new collection, as well as pieces from international designers. Hermitage Bldg., Furn El Hayek, Ashrafieh, tel. 01.216.801, joannadahdah.com

Alexander McQueen’s spring/summer 2015 collection channels the blossom pinks and lantern-sleeved silhouettes of Japan, with creative director Sarah Burton’s ode to the country’s aesthetic standing apart from mainstream fashion trends. Available at Aïshti stores.

A cityscape

Just in London Comme des Garçons (below)

Wallets designed by Comme des Garçons exclusively for Dover Street Market have the island-hopping lifestyle written all over them. Zingy fluorescent colors are perfect for the city, sun and fun. 17-18 Dover St., tel. 44.20.7518.0680

Cocktail Trading Company (below)

Cocktail Trading Company has mastered the art of the unusual tipple. Their signature drinks are inspired by South East Asia, and they’ve been known to serve a martini in a wok. 22 Great Marlborough St., tel. 44.20.7427.6097, thecocktailtradingco.co.uk

One of the most prolific living artists of the 20th century, Marlene Dumas tackles consumerism, celebrity and identity in her work. This major retrospective casts the artist as one of the key political commentators of our time. Runs until May 10 at Tate Modern, Bankside, tel. 44.20.7887.8888, tate.org.uk

Swan Lake (above)

Anthony Dowell, former dancer and now artistic director of the Royal Ballet, has reimagined the classic ballet Swan Lake. His new production highlights the opulence of Russia in the late 1890s. Royal Opera House, Bow St., tel. 44.20.7240.1200, roh.org.uk

Pierre Hermé London (above)

Called the “Picasso of Pastry,” Pierre Hermé is a macaroon maestro. His signature flavors include olive oil and pine, and he’s recently turned his patisserie talents to the petit four. 13 Lowndes St., tel. 44.20.7245.0317, pierreherme.com

Kitty Fishers (right)

Named after a famous 18th-century courtesan, Kitty Fishers is Mayfair’s only neighborhood restaurant where you’ll find a wood grill. Sides make the meal, with a menu including ox cheek and salt fish croquettes. 10 Shepherd Market, Mayfair, tel. 44.20.3302.661, kittyfishers.com A 52

Marlene Dumas: The Image as Burden (below)

A cityscape

Just in Paris Trandline (left)

Pampering reaches glorious, Haussmannian heights at this chic spa and hair salon. In a sumptuously styled apartment, these are townhouse treatments at their most restorative. 64 rue Pierre Charron, eighth arrondissement, tel. 33.1.44.13.88.88, trandline.fr

La Petite Maison Favart (above)

Close to the Opéra, these charming apartments bring a sense of theater to a Parisian visit. With top-notch service provided by the fabulous Maison Favart hotel next door, consider this home suite home. 5 rue de Marivaux, fifth arrondissement, tel. 33.1.42.97.59.83, lapetitemaisonfavart.com

Victoria 1836 (below)

Caffè Stern (below)

From early-morning croissants to late-night cocktails, this all-day brasserie occupies a seductive, elegant space within full view of the Arc de Triomphe. A triumph, too, are chef Alexandre Auger’s modern dishes. 12 rue de Presbourg, 16th arrondissement, tel. 33.1.44.17.97.72, victoria-1836.com

Olympia Le-Tan (above)

Olympia Le-Tan gave new meaning to bookbags when she began making clutches based on vintage book covers. Her first standalone store brings together her exquisite accessories and ready-to-wear collections. Passage des Deux Pavillons, first arrondissement, olympialetan.com A 54

©Nicolas Matheus, Fausto Mazza, Petite Maison Favart, Pierre Le-Tan, Trandline

Winged rabbits, Venetian cicchetti and fresh pastas find their home at this Philippe Starckdesigned café, bar and restaurant in a former engravers’ shop. A bejeweled bobcat with your langoustines and bottarga? Bravissimo. 47 passage des Panoramas, second arrondissement, tel. 33.1.75.43.63.10, caffestern.fr

Daniel Gordon Memphis and Tulips, with Blue Lemons

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A cityscape

Just in Milan Boutique Dr. Vranjes (left)

A new boutique nourishes the senses with intoxicating scents for the home and body. The collection is the creation of Florence’s Dr. Vranjes, who recently added a line of natural products to the lavish label. Via Fiori Chiari 24, tel. 39.02.8901.0492, drvranjes.it

Curnis Jewelry (below)

The Curnis family, originally from Bergamo, has been producing jewelry for three generations – but that doesn’t mean they’re old-fashioned. Their latest collection takes gold, diamonds and precious stones and gives them a contemporary twist. Visit curnis.it Under the helm of creative director Gaia Trussardi, Trussardi Jeans is being reborn. The luxury denim line, which debuted in 1986, is relaunching with a younger, cooler vibe. Visit trussardi.com

Tomas Than (above)

Thomas Than’s handbags stand out for their purple interior and a serial number that allows you to trace the origins of the product in case of theft or damage. Rumor has it the Italian leather goods designer will open his first boutique this year. Visit tomasthan.com

Björk Swedish Brasserie (below)

Milan’s first Swedish brasserie is a delightful place to enjoy Nordic cooking and regional design objects available for purchase. Via Panfilo Castaldi 20, tel. 39.02.4945.7424, bjork.it

Panino Giusto (left)

The word panino (sandwich) may be associated with fast food, but this restaurant’s ingredients – in new formulas from chef Claudio Sadler – are as spectacular as the surroundings. Via Borgogna 5, tel. 39.02.2506.1005, paninogiusto.it A 56

Trussardi Jeans (above)

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A cityscape

Just in New York New Museum Triennial 2015 (below)

The New Museum’s Triennial brings work by dozens of early-career artists from around the world. Subtitled “Surround Audience,” the third iteration will encompass not just painting, sculpture and installations but also comedy, dance and poetry. Runs until May 24, 235 Bowery, tel. 212.219.1222, newmuseum.org

Cow and Clover (below)

On the Williamsburg waterfront, this new eatery is attracting foodies with a pair of old-fashioned, wood-fired brick ovens. More than just pizzas, they produce everything from bread to roasted meats and dessert cookies. 291 Kent Ave., Brooklyn, tel. 718.782.8810, cowandclover.com

Wallflower (above)

Set on one of the most inviting blocks of the West Village, this new bistro and cocktail bar has become an instant hit thanks to its seasonal and regional French country fare, plus a dynamic cocktail menu with lots of floral themes, like rose petals frozen in the ice cubes. 235 West 12th St., wallflowernyc.com

Rachel Comey (below)

Inhabiting Andrew Carnegie’s 5th Avenue mansion, the Cooper Hewitt Museum has reopened after a renovation. The relaunched museum features both painstaking preservation of the original 1902 building and cutting-edge technology. 2 East 91st St., tel. 212.849.8400, cooperhewitt.org

A 58

Cooper Hewitt Museum (below)

Rachel Comey launched her label with menswear in 2001, but when women started buying the smaller sizes, a fashion star was born. Comey has opened her first store in Soho, which features vintage-inspired looks that the downtown post-fashion girls – and David Bowie – love. 95 Crosby St., tel. 212.334.0455, rachelcomey.com

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A cityscape _ event

Zegnaâ&#x20AC;&#x2122;s expanding empire

ÂŠ Nabil Ismail

By Elizabeth Hudson

A 60

The Italian brand’s revamped store opens with a winter trunk show Ermenegildo Zegna’s well-suited clients gathered Downtown one night in December for the official opening of the brand’s revamped Beirut boutique. In a luxurious open-air lounge fashioned outside the shop, guests were treated to a trunk show of fall/ winter 2014-15 looks from the Sartorial, Upper Casual and Z Zegna collections. Sounds from a live jazz band and the night’s D.J. floated through the air as visitors enjoyed cocktails and a tour of the new boutique. Zegna’s empire has expanded to include the renovated, 394-square-meter boutique on Abdel Malek Street. Under the guidance of American architect Peter Marino and the Zegna family, the newest Zegna space encapsulates a perfect blend of the brand’s style, history and values with cutting-edge trends in architecture and luxury design. 61 A

A cityscape _ event

Over three floors connected with a bronze and woodpaneled elevator, the spacious boutique represents the luxury lifestyle and impeccable service clients have come to expect from the house. A new made-to-measure room is headquarters to a Zegna master tailor who travels from Italy twice a year for private appointments, while a discrete, refined V.I.P. area caters to the needs of Zegna’s valuable clients. The boutique also includes other lines from the house – Premium, Sartoria, Upper Casual, Z Zegna and Zegna Sport – offering clients a range of looks to satisfy every need and occasion.

62 Abdel Malak St., tel. 01.991.111 ext. 222

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WWW.AISHTIBLOG.COM

A playground _ mixed media

Alone on a desert islandÉ

By Pip Usher

Womenswear designer Sandra Mansour Raised in Switzerland, Sandra Mansour first cut her fashion teeth with Elie Saab before carving a name for herself in the Middle East as a bridal and ready-towear designer. Describing her world as a place where “contemporary elegance meets simplicity,” she’s undaunted by the prospect of being marooned on an uninhabited isle – she’d just bring all her favorite things to fill it. L’Amour et les Forêts’ portrait of a woman in search of passion would be packed for star-lit reading while Athénée Palace, a novel detailing Countess Waldeck’s cloak-and-dagger months in Bucharest during World War II, provides encouragement in the source of its protagonist, a “redoubtable woman.” French songbird Lou Doillon’s Places album mixes “sensual and melancholy sweetness” for those days when homesickness needs to be indulged; A Girl Walks Home Alone at Night, an Iranian vampire Western flick that blends a “catchy soundtrack and dark atmosphere,” offers a playful dose of pulp. And if the island doesn’t offer enough macabre inspiration for Mansour’s next collection, Tim Burton’s fantastical Corpse Bride certainly does. Emily, the deceased bride, is an offbeat muse with her “blue hair, crown of dead flowers and fluid wedding dress.”

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LESILLA.COM

A playground _ playlist

Hot, hot beat D.J. Jana Saleh’s Valentine’s Day playlist Want to set the tone for a romantic night in? Independent music producer and Beirutbased D.J. Jana Saleh selects the perfect songs for sending a steamy message. Let everyone know that: “My Baby Just Cares for Me” by Nina Simone Tip: If you play the piano, surprise your partner with a live version

I’ve never met anyone who doesn’t secretly react to this song: “Love You Inside Out” by Bee Gees Tip: Sometimes being silly together is all that matters The joys of love: “Love’s Easy Tears” by Cocteau Twins Tip: Let the music speak for you Love is about exposing your vulnerabilities: “Purple Rain” by Prince Tip: Win her back again and again This is my favorite love song of all time: “God Only Knows” by The Beach Boys

Tip: Only play it if you truly mean it When he’s just too good to be true: “Can’t Take My Eyes Off of You” by Lauryn Hill Tip: A classic of a classic gets double the credit Queen B says it best: “Drunk in Love” by Beyoncé Tip: Two words for you: kitchen floor I love finishing my sets with this one: “Love to Love You Baby” by Donna Summer Tip: She’ll know what to do, just watch When love is holy: “A Love Supreme” by John Coltrane Tip: An album written in the name of love can be better than a love letter

There’s a thin line between poetry and lyrics:

“Dance Me to the End of Love” by Leonard Cohen Tip: Dress up and ask her to dance with you

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A playground _ icon

More than a muse

The first impression you got from Loulou – apart from her style, which was so obvious – is that she was very lively and, at the same time, very poetic. There were so many sides to her, which just meant that when she walked into a room, she was the life of wherever she was.

A 72

By MacKenzie Lewis Kassab

Her youth wasnâ&#x20AC;&#x2122;t easy and she led a very fast life, but Loulou always remained centered.

73 A

A playground _ icon

I didn’t learn anything new about Loulou while putting the book together, but it was moving to see how loved, admired and respected she was by everyone – though I can’t say I’m surprised.

the haute bohémienne have been compiled in Rizzoli’s Loulou de la Falaise: The Glamorous Romantic, edited by de Ravenel.

A new book celebrates the life of Loulou de la Falaise What started as a typical afternoon for Ariel de Ravanel changed the moment Loulou de la Falaise walked through French Vogue’s door. “A mutual friend brought Loulou over to the magazine and of course we fell in love with her, as everyone did,” says Ariel de Ravenel, who was working at the publication that day in 1969. “We immediately wanted a photograph of her.” In no time, de la Falaise’s mischievous gaze was peering out from the magazine’s pages. Now, nearly 50 years later, those and over 400 other photographs chronicling A 74

Over the years, de la Falaise and de Ravenel developed a bond that expanded far beyond their professional partnership that fateful day at Vogue, and later as colleagues both at Yves Saint Laurent and Loulou’s namesake label. The two remained close confidants until de la Falaise’s death in 2011. One gets the impression from speaking with de Ravenel that Loulou de la Falaise is not only a celebration of her dear friend, but also a form of closure that she’s struggled to find elsewhere. “Her death was very sudden for everybody,” de Ravenel says. “No one was ready.” Working closely with de la Falaise’s widower and daughter, Thadée and Anna Klossowski, Yves Saint Laurent’s partner, Pierre Bergé, and a who’s-who of other sources in their inner circle, de Ravenel has forged the tribute she considers worthy. “There were obviously some nice pieces that came out when she passed away, but she’s finally getting her due recognition,” she says with a smile. “I think Loulou would be happy.”

Loulou de la Falaise led a colorful life. Born to an Irish model mother and a French aristocrat father, she would be expelled from several schools, marry, divorce and become Yves Saint Laurent’s devoted muse and creative collaborator by the time she was 21. She would make a name for herself on Paris’s nightlife scene and find her place as a designer in her own right. But perhaps most importantly, she would leave behind a legacy as a loving wife, doting mother and fiercely loyal friend.

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A playground _ fantasy

Gray area By MacKenzie Lewis Kassab

Does Fifty Shades of Grey push fantasy too far? This February, mall movie theatres are giving off a seedy air as leather whips and restraining ropes step into a starring Hollywood role. Fifty Shades of Grey has taken to the big screen, with Jamie Dornan as the impossibly charming Grey and Dakota Johnson as his insecure, smartmouthed and mousy love interest, Anastasia Steele. If you haven’t read Fifty Shades of Grey, you know someone who has. The E.L. James book has sold over 100 million copies, making it one of the best-selling books of all time. It’s hardly a feat of literary genius, so what is it about this particular work of erotic fiction that has women swooning?

Unlike men, who are typically turned on by images of female body parts, “women respond to a truly astonishing range of cues across many domains – the physical appearance of a man, his social status, personality, commitment, the authenticity of his emotions, his confidence,” Dr. Ogi Ogas and Dr. Sai Gaddam explained in a Psychology Today feature titled “The Triggers of Sexual Desire.” In this sense, Grey is to women what the over-inflated blonde of adult films is to men. Where she is bubbly, agreeable and always eager to drop her panties, he is mysterious, intelligent and always eager to drop his credit card. And both, of course, are masters of the bedroom. This is where the problem lies. A 76

“I read the first two books and I have to admit, I’m feeling kind of depressed,” says Rach10782, a user on the popular parenting site The Bump. She’s not the only one. Upon finishing the series, user Ditto on an infertility site called Stirrup Queens “cried all day long.” She writes, “I’m not sure if I’m sad about it being over or the fact that I want a life like Anastasia’s.” Across the Internet, Fifty Shades of Grey has unleashed a flood of comments from truly desperate women – and the occasional man – whose relationships suddenly don’t stack up. “I’m a bloke on the receiving end of a Fifty Shades depression,” James bravely admits on Stirrup Queens. “I know my girlfriend is obsessed with Mr. Grey, and I know I cannot live up to him.” He might not be exaggerating: “I actually hold DH [Dear Husband] to a higher standard now,” says The Bump user Posvane. When the real world is filled with mortgage payments and children who need their diapers changed, it’s tempting to think that a mysterious man could add excitement to the monotony.

But while a human Barbie doll seems perfect at first – So firm! So quiet! – she’s not the kind of girl you’d confide in when you’ve had a bad day at the office. Similarly, the allure of Christian Grey unravels when you pry him from the bedroom. This is a man who tracks his girlfriend’s movements on GPS, who monitors what she eats and who books the airplane seat next to hers when she flies, despite the fact that she’s traveling solo. Grey isn’t simply complex; he’s worthy of a restraining order. Just like the pert porn star, Christian Grey fulfills a very specific desire. But in all likelihood, he’d come up short the moment life throws a curveball. The sooner we distinguish erotic fiction from reality, the sooner we can sit back and appreciate Hollywood’s Fifty Shades of Grey for what it is: an R-rated Cinderella with a controlling Prince Charming. Then we can happily go home to our loving, well-adjusted partners, who have about as much interest in monitoring what we eat as they do in making dinner.

In two words: Christian Grey, a man described as so attractive no woman can look directly at him. He’s a self-made millionaire who oversees hush-hush charity operations in Darfur in his spare time. He flies a helicopter, knows about wine and plays Bach on the piano when he’s brooding. Ana is the only woman who’s ever coaxed the sensitive, caring alter ego from beneath his cold façade.

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A fashion _ news

Fashion fragments Add a little spring to your step The comeback kid

John Galliano made a triumphant return to the runway with a wonderfully bizarre spring/summer 2015 couture collection for Maison Margiela. The house quietly dropped the “Martin” from its name before the show. Visit maisonmartinmargiela.com

Starlet of the season

If anyone’s made the transition from reality royalty to legitimate fashion darling, it’s Kendall Jenner. She walked a whopping 13 spring/ summer 2015 shows and stars in Marc Jacobs’s latest campaign. Visit marcjacobs.com

Tory Burch is setting her sights on a new clientele. The designer is branching out into men’s accessories, slated to launch this season. Visit toryburch.com

Large is in charge

Piled on a few extra kilos over the holidays? No problem: one of resort’s biggest trends is the oversized silhouette, as seen at Antonio Berardi (above) and Fendi. Visit antonioberardi.com and fendi.com A 84

If the shoe fits

Victoria Beckham, known for her love of sky-high heels and the occasional masculine flat, is finally making the foray into footwear with an inaugural spring/summer 2015 shoe collection. Visit victoriabeckham.com

It’s a guy thing

A fashion _ collection

In focus By MacKenzie Lewis Kassab

ÂŠ Melissa, Shutterstock

Melissaâ&#x20AC;&#x2122;s wonderfully weird approach to shoe design

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This page Covent Garden’s Galerie Melissa gets a futuristic effect with hundreds of LED screens (left), a colorful reminder of the brand’s Brazilian heritage (below) Previous page The brand’s early collections (top left) often inspire new collections (bottom) under Edson Matsuo (top right)

When asked what inspires his work at Melissa, creative director Edson Matsuo strays from a canned PR response. “The new inspiration is the concept of Design Smiling Collaboration,” he says without a trace of irony. “It’s collaborative design that destroys impossibilities through the smile between people.” It’s not an answer I was anticipating, but then nothing about Melissa fits within the framework of what’s expected from a shoe company. While traditional shoemakers boast man-hours, hand-stitching and rich Italian

leather, the Brazilian brand came on the scene in 1979 with a PVC shoe that took exactly 60 seconds to produce. Melissa won over the more adventurous on the style spectrum with quirky designs made out of a patented, sweetly scented plastic called Melflex. It’s the only material the designers work with, but Matsuo doesn’t seem to mind: “With Melflex, the only limitation in the creative process is your imagination.” Other brands have made marketing gimmicks of high-profile collaborations – Rita Ora designing for Adidas or Rihanna as creative

director of Puma come to mind – but Melissa made them part of its core culture. The brand has a history of partnering with designers across disciplines, rather than pop icons with great style (and even better stylists). Vivienne Westwood, Architect Zaha Hadid and product designers Humberto Campana and Fernando Campana have all contributed to the creative process, with Matsuo admitting, “The results are always surprising for the fans, for the designers and for us.” But it’s not just styles and colors that catch clients off guard. Late last year, Melissa 87 A

A fashion _ collection

Matsuo, who describes his role as a “creative activist,” has already targeted the next rule he’s out to break: that pesky dictate that declares shoes must be sold in pairs. Melissa’s new One by One collection is made up of nine interpretations of the classic Ultragirl shoe, each shoe sold separately and designed for both the right and left foot. With the assortment and flexibility of the collection, nine shoes can create 81 different pairs. It’s a feat of technology that’s had some surprising benefits. “Today we received a photograph of a Melissa fan with an immobilized leg, and she suggested we sell the One by One collection at orthopedic hospitals because many patients need a shoe for just one foot,” he beams. “This project was the result of an unconventional approach to shoes – a way to think of them as a product that can instigate curiosity and bring people together.” The easy-going One by One collection was originally sold in a São Paulo vending machine

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The collection is now sold in Melissa stores, but where’s the fun in that? Earlier this year a vending machine outside Galeria Melissa in São Paulo was also dispensing them, one shoe at a time.

opened its first international flagship store, Galeria Melissa, in London’s Covent Garden. Not content with the standard bigger-isbetter approach to flagship design, the brand recruited Brazilian multimedia artist Muti Randolph to come up with something different for the concept store. With what look like laser beams (actually over a hundred floor-to-ceiling LED screens) and display elements from a futuristic laboratory, Randolph transformed the building’s original Georgian architecture into a space as unexpected for a shoe brand as the shoes themselves.

Introducing our NOVO flagship branch at Palladium Building – Downtown Besides the usual NOVO interactive platforms, you can now experience two first-of-their-kind banking solutions in Lebanon: • The ITM (Interactive Teller Machine) to perform your banking operations via video conferencing with a Live Personal Teller • The Cards To Go vending machine that allows you to instantly purchase pre-paid cards for gifting or personal use Open every day from 10am to 10pm, even on Sundays.

www.bankaudi.com.lb

CityMall . Uruguay Street . Zaitunay Bay . Palladium Downtown NOVO new print 23x30cm E.indd 1

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A fashion _ debate

Yes or no Is there a time to retire sexy lingerie? YES Supermodel Heidi Klum, a former Victoria’s Secret Angel, once proclaimed, “You should spend your money on some nice lingerie. Big wool cotton panties just don’t work.” Sure, Heidi, big wool cotton panties don’t work when you’re striding down the catwalk in a diamond-encrusted bra with gigantic angel wings dusting the floor behind you. But what about when you’re a mere mortal with fat days, dirty laundry and a lifestyle that demands functionality comes first? This is where the Practical Panty (black cotton, full coverage) becomes your greatest ally. A true pair of Practical Panties approaches curves with a caring kind of pragmatism, swathing your lady parts in something soft without simultaneously throwing your sex life out the window. If the Practical Panty materialized as a person, it would be Emma Thompson; in automobile form, it would probably be a Volvo. Neither Emma Thompson nor Volvo are going to land on the front cover of Playboy, but then again, I suspect neither of them are angling for that. Dependable, understated and minimalist, they tick all the boxes without trying too hard. There is an effortlessness and honesty that comes with wearing Practical Panties. Like a face with the most discreet slick of makeup, they enhance without exaggeration, suggesting that the body beneath doesn’t need frills and embellishments to look beautiful. In contrast, a woman trussed up in lingerie like a Christmas turkey looks like she’s piled on pretty things to cover up her slightly less sparkling insecurities. Real life is not a role-play. It’s tricky, demanding and often uncomfortable. With all that to contend with, the least we can hope is that our panties serve as support rather than spectacle. by Pip Usher

NO It has been said that most women dress first to impress other women, and given the popularity of oversized blazers and platform lace-ups it’s easy believe. But when our clothes are shed and we’re draped in lingerie, we’re left to face two remaining audiences: men and our own reflection. The case has long been made for primping from – quite literally – the bottom up. Never mind that it’s impossible to feel unattractive in beautiful lingerie, or that women who feel sexy are said to project more confidence. Beneath a conservative suit or an avant-garde dress, lingerie can inspire an alter ego unfit for public consumption. Undercover dominatrix in garter belts? Secret seductress in a sheer balconette? It’s your dirty little secret. Unless, of course, you choose to share it. A new lover is a connoisseur of the art of undress, privy to extravagant underthings that spend more time off the body than on it. But over time, titillating whispers give way to the blunt realities of familiarity and routine. Satin ushers in cotton, and if you’ve gone as far as lax waistbands and timeworn holes, then sweetie, we need to talk. Surely it’s the very person who’s loved you at your worst – during a fit of face-contorting sobs or in the excruciating marathon of labor – who deserves to see you at your very best. The mere suggestion of lace straps and silk caressing curves beneath a T-shirt serves as a gentle reminder to both of you that sexy still applies. If that’s not enough to sway you, consider this: eventually, a hint of that same lace strap will show itself beyond the bedroom, as you lean forward or move just so. To the woman defeated by cotton briefs and a worn-out bra, there’s hardly something more impressive. by MacKenzie Lewis Kassab

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Beirut Souks, Souk El Tawileh - Beirut City Center, Hazmieh, Level 1 Also available at all A誰zone stores in Beirut, Dubai, Amman

7forallmankind.com

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A fashion _ staple

Ride or die

By Grace Banks

Improve your leather game with the women who live it

Fifty years later and the motorcycle jacket hasn’t lost its lure. Each spring, it resumes its position as the Holy Grail of transitional dressing. “When you’re on a motorcycle, your vest or jacket are your A 92

As he pulled up curbside, his monogrammed leather jacket amplified by a steely gaze, Marlon Brando’s outlaw in The Wild One was the poster boy for rebellion, instantly sparking a national lust for leather. The 1953 film, directed by László Benedek, was based on a real 1947 biker riot in California. The riot was the birth of the rebel biker, but what history books forget is that women were part of the mob and not placid spectators like Kathie Bleeker in the silver screen portrayal. Since the late ’40s women have been biking and cultivating what keeps them safe and cool: the leather jacket. It trickled into the mainstream and by the ’50s women from all walks of life were doing their best biker impressions, from Bettie Page to Ava Gardner.

This page Jane Addam’s biker look comes alive on the spring and resort runways Opposite page Marlon Brando became the poster boy for the rebel biker

Fendi

protection against bugs, weather and even the pavement, if something goes wrong,” says California biker Jane Addams. “You live in this thing, so people tend to get very attached’. Addams runs Zig Zag Patch Co., a patch label born out of a need to differentiate groups of riders by their jackets. She’s been biking for 15 years and insists that finding the right leather jacket is all about trial, error and personality. “There’s nothing dorkier than a brand new, stiff leather jacket. Break it in, wear it around the house, roll around if you have to,” she quips before adding, “but don’t go out in public until you can bend your arms without making a face.” The woman who wears a biker jacket lives a life of adventure, or at least wishes she does. This season’s styles encourage a free spirited mood. Take Givenchy’s oversized offering, with it’s tough padded shoulders and cropped design. It’s become the key piece to drape across your shoulders, even taking the place of a floor-sweeping evening coat. Fendi introduced a modern, two-toned style, inspired by the practical protection biker jackets offer but with the label’s signature luxuriousness, tying in neatly with Addams’s life rules on rocking a biker with authenticity. “You have to feel comfortable,” she says. “I have a jacket that’s perfect for my Honda but if I ride my boyfriend’s Ducati, the arms are too tight to ride with style.” The appeal of the biker jacket is the biker, says Addams. “Motorcycling has freed me

Fendi

from mainstream beauty standards. It really seeps into everything,” she says. Moschino’s resort 2015 collection echoed this rebellion. Contrasting against the saturated pink of its spring/summer 2015 catwalk was a cropped, embellished jacket in patent leather, begging to be biked, partied and lounged around in. Because if you choose wisely, your leather jacket is an extension of your personality. Like Brando’s young, misunderstood character quips when asked if he’s a biker: “I’d just like a bottle of beer.”

Moschino

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A fashion _ dye job

Wash and go

By John Ovans

also feasible due to the emergence of cold water fiber reactive dyes, which began to be adopted by the textile industry towards the end of the ’50s. After combing Greenwich Village for creatives who would be interested in using the dye, he encountered two artists named Will and Eileen Richardson, who made tie-dye garments that Price sent to fashion editors and designers to prove its mettle. One of the designers was Halston, who incorporated it into his new collection – and the ball was rolling for what became a generation’s most iconic trend.

Burberry

While it is now synonymous with a particular era, tie-dye is a technique that has been used throughout history, with twisted silks unearthed by archeologists in fourth-century Chinese tombs, alpaca wool in pre-Columbian Peru and shibori, a centuries-old Japanese practice of printing patterns on cloth for kimonos. No matter how primitive techniques were, cloth and dye were (and still are) easy to experiment with.

Burberry

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This was something a generation of Americans discovered for themselves in the ’60s, thanks to a New York salesman named Don Price, who began marketing a then-struggling brand called Rit Dye. At this point, mixing different dyes was

At the same time came the Vietnam War, which provoked debate in America about what was viewed as imperial U.S. intervention. Hippies – previously regarded by everyday Americans as eccentric jokes – emerged as a barefoot counterculture whose anti-war sentiment gained considerable influence as harrowing footage of troops abroad continued to roll out on the nightly news. The sight of straggly-haired, banner-waving men and women, clad in bandanas and Windsor sunglasses, participating in public musical shows and peaceful sit-ins, became commonplace in the U.S., and as a result, their style became highly visible. Folding, twisting, knotting, stitching, scrunching – the process of making tie-dye fulfilled hippie values of creative expression that broke free from the rigidity of their elders. (All zany patterns and colors, it’s no secret that it was a pretty good artistic representation of the effects of psychedelic drugs, too.) Tie-dye was, in this sense, a visual symbol of both a movement and a mindset, and it’s no surprise that leading the pack were rocking musicians such as the Grateful Dead, who continued to wear tiedye well into the ’90s, Jimi Hendrix and Janis Joplin, whom a hippie urban myth purported to sleep on tie-dye satin sheets. As the trend swept, it took on the message that its wearers

Peace and love in your spring wardrobe

Gucci

were sending out – one of peace, love and sexual and political freedom. More than half a century later, tie-dye’s visual language remains as recognizable as ever, which is why it’s no surprise it has returned as a trend in this year’s resort collections, albeit in more guises that in its hey day. Calling it “hippie meets high fashion,” Michael Kors – definitely the frontrunner in the trend – put a huge chunk of his collection through a dyesoaked wash, from suede bell bottoms and blouses to shift dresses, trench coats and totes, in feminine pastel hues such as cornflower, lilac, wisteria and oleander.

Over at Gucci, it was cable knit sweaters that got the treatment while Burberry Prorsum dip-dyed lace, creating a romantic watercolor effect. It comes as part of a much larger boho trend, one that fashion houses frequently return to, simply because there’s always demand for it. Tie-dye, though, always feels fresh, because it has the power to be transformative when applied to garments. In 2015, flower children are all grown up but their legacy lives on. Tie-dye is an easy trend to incorporate into your wardrobe – certainly easier than growing your hair down to your bum, anyway.

Michael Kors

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A fashion _ detail

Finishing touch

By MacKenzie Lewis Kassab

This and opposite page Tateossian’s boutiques morph into fashionable galleries, thanks to the brand’s must-have accessories

Dior

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Like most things in life, jewelry served a purpose long before it became just a fashion statement. When ancient Egyptian men wore the cross-like ankh, it was a good luck charm for life, power and stability. Pocket watches remained in style until World War I because men needed to tell time without relying on their wives’ effeminate wristwatches. Even ornate signet rings once stamped lettersealing wax. But of course, jewelry’s function eventually took a back seat to style and status. Signet rings were adopted by aristocratic pinkies, the Pope and, later, the nouveau riche looking to feign upper class roots. Gold

crosses and “Jesus pieces,” once signifiers of religious affiliation, became the subject of hip hop songs as rappers flaunted their wealth in 24-karat iconography. It’s a phenomenon Robert Tateossian knows well. “In London, if you look at any executive sitting around the boardroom table, they’re wearing cufflinks,” says the founder of Tateossian Jewelry. “Those that aren’t are obviously new and haven’t caught on yet,” he adds with a laugh. Tateossian began his business when plans to “become a banker and make a lot of money” were trumped by the desire to

©Tateossian

Tateossian creates status in strong design

be his own boss. What started as a small first collection quickly sold out in Harrods and Harvey Nichols and is now available in over 1,000 shops around the world. Recognizing that status means different things to different men, the collection has evolved to range from classic to the downright bizarre.

For techies intent on one-upping their buddies with gadgetry, Tateossian continues outdoing itself with its ever-growing Mechanical Collection. Exposed watch skeletons, dials, cogs and gears function within metal-plated cufflink frames, their intricacies expanding with each addition to the range.

The Deadly Creatures Collection took shape in a curiosity shop in Tokyo. “They had snakes in liquid, bugs in jars, that sort of thing. We decided to make resinencased bug cufflinks – it’s crazy,” he says. These miniature conversation pieces are not for the squeamish. Opalescent beetles, creepy black ants and the brand’s bestselling scorpions are encased mid-crawl in colorful resin atop mother of pearl.

With a 25-year history, the brand has amassed a loyal following that includes actors, artists and politicians. “If you check the guy out next to you eating sushi, he might be wearing three or four of our bracelets with jeans or a suit and he’s not even Italian,” Tateossian jokes. “Our clients range from 16 to 90 and we’re not only popular among the young or super fashionable.” Whoever they are, they’re certainly amassing admirers. 97 A

A fashion _ accessories

Opposites attract Photographer Tony Elieh Stylist Joe Arida

Clockwise from left Stella McCartney shoes, LL817,500; Taschen book, LL27,000; Fendi sunglasses, LL750,000; Stella McCartney bracelet, LL405,000; Marc by Marc Jacobs iPhone cover, LL82,500; Stella McCartney bag, LLLL1,537,500; Chanel nail polish, LL52,500; Stella McCartney clutch, LL1,372,500

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Clockwise from left Valentino clutch, LL2,452,500; Dior shoes, LL1,035,000; Dior nail polish, LL52,500; Fendi bag, LL3,172,500; Gianvito Rossi heels, LL1,042,500; Linda Farrow sunglasses, LL67,500; Dior wallet, LL1,432,500

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A fashion _ accessories

Clockwise from left Ashlynâ&#x20AC;&#x2122;d clutch, LL892,500; Phillip Lim sunglasses, LL390,000; Gianvito Rossi heels, LL1,494,000; Marc by Marc Jacobs iPhone cover, LL82,500; La Mer foundation, LL177,000; Alexander McQueen sneakers, LL1,012,500; Skitch ruler, LL85,500; Gucci wallet, LL669,000; Dior sunglasses, LL825,000;

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Clockwise from left Linda Farrow sunglasses, LL667,500; Dior wallet, LL1,597,500; Gaia & Gino sculpture, LL351,000; Chanel nail polish, LL52,500; Saint Laurent bag, LL2,010,000; Jimmy Choo heels, LL1,155,000; Dior bag, LL4,162,500

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A fashion _ accessories

Clockwise from left Balenciaga bag, LL2,242,500; Céline sunglasses, LL570,000; Chanel nail polish, LL52,500; Paul Andrew heels, LL1,102,500; Saint Laurent boots, LL1,447,500; Diptyque candle, LL115,500; Gucci keychain, LL360,000; Céline sandals, LL1,252,500

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Clockwise from left Taschen book, LL27,000; Dior bag, LL2,760,000; Chanel nail polish, LL52,500; Bottega Veneta shoes, LL922,500; Roberto Cavalli heels, LL1,462,500; Stella McCartney bracelet, LL405,000; Gucci sunglasses, LL630,000; Bottega Veneta clutch, LL3,112,500

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A fashion _ hot stuff

First resort

Top trends for the spring transition

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Oscar de la Renta

Jason Wu

Altuzarra

Gucci

Balenciaga

Show off

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Stella McCartney

Valentino

Cushnie et Ochs

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Marc Jacobs

Alice + Olivia

Marc by Marc Jacobs

Gucci

Floral frenzy

ChloĂŠ

Christopher Kane

Dior

A fashion _ hot stuff

Burberry Prorsum

Dsquared2

Altuzarra

Chloé

Céline

Dior

On the fringe

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Marni

Dsquared2

Stella McCartney

ChloĂŠ

Chloe

CĂŠline

Earn your stripes Diane von Furstenberg

Valentino

Burberry

Alice + Olivia

A fashion _ hot stuff

Prabal Gurung

Marni

Marc by Marc Jacobs

Jason Wu

Altuzarra

CĂŠline

Repeating history

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Valentino

Prada

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Jenny Packham

Saint Laurent

Roberto Cavalli

Moschino

Pucci

Giambattista Valli

Stella McCartney

Rag & Bone

A fashion _ hot stuff

Max out

Fashion

Mod rush Gold dust Young and jaded Under her skin

Mod rush Photographer Emilio Tini

Stylist Amelianna Loiacono

Location Studio Baobab, Milan

Sheâ&#x20AC;&#x2122;s in a Tory Burch look

Sheâ&#x20AC;&#x2122;s wearing a Stella McCartney shirt, a Michael Kors skirt and vintage sunglasses. Shoes are modelâ&#x20AC;&#x2122;s own

Sheâ&#x20AC;&#x2122;s in a Fausto Puglisi shirt and skirt. Her sunglasses are vintage

Her coat is by Pucci

Sheâ&#x20AC;&#x2122;s wearing a Fendi top and pants. Her shoes and bag are by Tory Burch

Sheâ&#x20AC;&#x2122;s in a Michael Kors sweater and scarf. Her shorts are vintage, her shoes are by Roberto Cavalli and her bag is by Moschino

Sheâ&#x20AC;&#x2122;s wearing a Marni dress and a Roberto Cavalli bag. Her shoes are by Valentino

Her dress and bag are by Valentino

Sheâ&#x20AC;&#x2122;s in a Dolce & Gabbana look

Sheâ&#x20AC;&#x2122;s wearing a dress and shoes by Dior

Sheâ&#x20AC;&#x2122;s in a Parosh jumpsuit and Dsquared 2 shoes. Her hat is vintage

Sheâ&#x20AC;&#x2122;s wearing a Bottega Veneta coat and dress. Her shoes are by Marni and her clutch is by Valentino

Sheâ&#x20AC;&#x2122;s in a Moschino dress and skirt and a Dsquared 2 top and sandals. Her bag is by Dolce & Gabbana Hair Nicholas James from The Green Apple Italia Makeup Anna Maria Negri from WM Management Models Bree from Next Management and Baptiste Giannesini from I Love Models Management

Gold dust Photographer Jimmy Backius

Stylist Ameliana Loiacono

Location Home of Rima Nasser, Beirut

Sheâ&#x20AC;&#x2122;s wearing a Michael Kors dress and bag. Her necklaces are by Roberto Cavalli and Etro and her bracelet is by ST

This page She’s in a Valentino cape, her hat is by Saint Laurent and her boots are by Dolce & Gabbana Opposite page She’s wearing a Chloé top and an Etro belt

Sheâ&#x20AC;&#x2122;s wearing a Zimmermann dress and Saint Laurent shoes. Her bag is by miu miu, her necklace is by Vickisarge and her earrings are by Nessa, available at Sylvie Saliba

Sheâ&#x20AC;&#x2122;s wearing a Valentino dress and bag. Her necklaces are by Marc by Marc Jacobs and Ileana Makri

This page Sheâ&#x20AC;&#x2122;s in a Paige shirt, a Michael Kors skirt and a Valentino scarf. Her bracelets are by Roberto Cavalli and Tory Burch Opposite page Sheâ&#x20AC;&#x2122;s wearing an Etro top and necklace

Sheâ&#x20AC;&#x2122;s in a Prada jacket and pants, her bag is by Saint Laurent and her necklaces are by Tory Burch and Ileana Makri Hair and makeup Rory Rice from WM Management Model Dalia Gunther from Model Management

Young and jaded Photographer Hana Knizova Stylist Magdalena Bryk Location London

This page She’s wearing a miu miu skirt, shirt and belt. Her shoes are by Saint Laurent (left). She’s in a Prada look (right) Opposite page She’s in a Saint Laurent skirt and jacket

This page Her dress is by Roberto Cavalli Opposite page Sheâ&#x20AC;&#x2122;s in a look by Dolce & Gabbana

This page She’s in a Prada coat (left). Her shirt is by Jenny Packham (right) Opposite page She’s wearing a Saint Laurent shirt and Joe’s Jeans

This page Her bodysuit is by Agent Provocateur Opposite page She’s in a Céline look Art direction and production Tereza Bila Hair Fumi Meahara Makeup Natsumi Narita Models Aida and Anna K both from Milk Management Photographer’s assistant Will Grundy

A beauty _ counter

Photographer Alice Rosati Stylist Amelianna Loiacono Location Ceresio

Actress and Nymphomaniac star Felicity Gilbert takes a sultry turn

Sheâ&#x20AC;&#x2122;s wearing a Vionnet dress and shoes

This page She’s in a Dsquared2 jacket and pants. Her shoes are by Prada Opposite page She’s wearing a Dsquared2 jacket

Sheâ&#x20AC;&#x2122;s in a Valentino dress. Her heels are by Vionnet

This page She’s wearing a Céline cape, Prada shoes and a Valentino necklace Opposite page She’s in a Prada look

This page Sheâ&#x20AC;&#x2122;s wearing a Dsquared2 top and pants Opposite page Her dress is by miu miu

Her cape is by Vionnet and her skirt is by Dsquared2

This page Sheâ&#x20AC;&#x2122;s wearing a Fendi dress Opposite page Prada clutch

Sheâ&#x20AC;&#x2122;s in a look by Dolce & Gabbana

This page Sheâ&#x20AC;&#x2122;s wearing a Marni top and panties Opposite page Her heels are by Marni

Sheâ&#x20AC;&#x2122;s in a Stella McCartney shirt and skirt Hair Marco Minunno from WM Management Makeup Coseta Giorgetti from WM Management Model Felicity Gilbert from Silent Models Stylistâ&#x20AC;&#x2122;s assistant Ginevra de Dominics

WWW.AISHTIBLOG.COM

A beauty _ counter

Inside and out The sexy side of beauty

French fling In shades of pink, red, purple and green, Chanel’s new Rêverie Parisienne collection brings a garden of spring hues to your vanity table. Visit chanel.com

Beauty cues Lisa Eldridge has been named Lancôme’s new creative director. The celebrity and editorial makeup artist, who has amassed a cult following with her playful makeup blog and online video tutorials, will put her signature style on the brand’s color collections. Visit lancome.com and lisaeldridge.com

Double entendre One spray of Diptyque’s Eau Plurielle drapes skin in the delicate scent of fresh linen, ivy and Turkish rose. It’s also meant for fabric, so mist pillows and sheets before climbing between them. Visit diptyqueparis.com A 168

Pretty as sin Agent Provocateur’s latest fragrance will knock ‘em dead with a blend of sensual gardenia, smoky patchouli and violetscented orris. Visit agentprovocateur.com

Mad hair day Bad haircuts have never looked so good. This spring, the ‘80s bowl cut is being reincarnated at Haider Ackermann (right) and Marc Jacobs. Visit marcjacobs.com and haiderackermann.be

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A beauty _ health

Sex in the yoga studio By Pip Usher

ÂŠ Shutterstock

Can opening your body and mind produce better orgasms?

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It’s 10:52 on a Tuesday morning and you’re beginning to sweat after a few vigorous sun salutations. Next to you, the scrawny woman in head-to-toe Lululemon has brought her head to her knees in a fluid fold. Suddenly, there’s a shuddering. A tiny, mewing gasp. It’s happened. The yoga orgasm, or “yogasm,” as coined by The Daily Beast in an article several years back, has been getting everyone hot under the collar. Rumored to occur during yoga classes across the world, it’s when a woman purportedly climaxes without touching herself, carried away on a wave of euphoric, incense-scented pleasure. Kelly Morris, a legendary teacher on New York City’s yoga scene, described her own cherry-popping experience to the news site with trademark candor. “The first time it happened to me I was in a forward bend. I was breathing and concentrating and suddenly, ‘Whoa!’” Yoga is a big topic these days, and sex has been a global preoccupation since humans figured out how to do it. But does all that sweating and stretching in yoga really get women off? At first glance, it seems like la petite mort mid-practice is the kind of fantasy made up by sex-deprived, menopausal women who sleep in spandex. Not only does it sound too good to be true, but it smacks of a very particular breed of elitist, New Age smugness. Orgasms during yoga? Like, duh. But there does appear to be anatomical evidence that supports the idea that not only

are yogasms possible, but they can happen to anyone. In yoga, the mula bandha, otherwise known as the root lock, is the lowest energy center in the body, found at the perineum. Since the objective of yoga is to move the energy upwards, the pelvic floor muscles are tightly contracted and held during poses; in normal terms, this is known as “exercising your kegels” and tones some of the same muscles that are used during climax. Couple that with breathing techniques, mood lighting and a room filled with scantily clad yoga students, and it suddenly seems less surprising that the journey for enlightenment can include pit stops of sexual pleasure. Tantra yoga is an ancient tradition that’s received a whirlwind of Western attention ever since Sting drunkenly claimed to enjoy hours of Tantric sex with his wife, Trudie Styler. A 5,000-year-old spiritual practice bedded in Eastern philosophy, Tantric scriptures state sex is vital for procreation, pleasure and liberation. With transcendence in mind, couples are taught to introduce measured breathing and an emphasis on erotic touch that elevates fornication out of the bedroom and into a sacred sphere. It’s the Slow Food approach to sex – a simple, sensual alternative to the diet of immediate gratification upon which most of us gorge. Lebanese Tantra teacher Sahar Khatib is reluctant to sensationalize the ancient tradition with talk only of sex. Describing it instead as a “sensual, sensitive, sacred dance,” Khatib emphasizes Tantra’s subtle,

inward-looking properties as students develop heightened mental, physical and emotional awareness. With spiritual selfawakening comes other stirrings, like an understanding of how to harness one’s own sexual energy. “As we were kissing I suddenly decided to apply muscle activation in the sexual region,” she remembers of her first tantric experience. “I felt the energy flow in a rush from the base of my spine quickly to the top of my head and in that quick instant, our bodies, souls and minds merged into one being.” In our sped-up world, the thought of an orgasm during a lunchtime yoga class can seem like a convenient way of ticking all the boxes. Khatib is quick to set students straight. “In these classes, one learns how to love oneself before even knowing how to make love to another being,” says Khatib. “The inner and outer work is daily, and endless.” Get started A beginner’s guide to the yogasm DVD Jivamukti Yoga with David Life and Sharon Gannon Book Tantric Sex: A Beginner’s Guide by Shubhaa Fisher Retreat Agama Tantra Yoga Retreat, Thailand Visit agamayoga.com 171 A

A beauty _ diet

Winter of content By Pip Usher

Foods that keep your health and happiness stable

With dark days come dark moods. But nutritionist Randa Dunya Fahd, host of M.T.V.’s hit nutrition and health welfare program “Balance,” knows how to find mental and physical equilibrium through foods rich in medicinal properties. Life doesn’t need to get rough this winter. Just stock up on seasonal staples and tell that great-aunt where to go. Food for the mood Seasonal affective disorder, a mood disorder related to the changing of seasons, is brought on by a lack of sunlight and an increase in melatonin production that can cause symptoms of depression. Omega-3 fatty acids, magnesium and vitamin B12 all purportedly combat such mood disorders to keep your spirits high, A 172

regardless of the gloom outside. Unsure what this means for your dietary habits? It’s easy: just pop by Teta’s house and ask for an extra helping of homemade hummus. Lebanon’s savory mezze dishes – hummus, grape leaves, labneh and moutabbal – are rich in these vital nutrients, so let your taste buds get traditional and tuck in. Soften that skin Cold weather can be just as brutal on the skin as summer’s heat. As moisture is sapped from the skin, it’s important to replenish it through dietary choices, says Fahd. “One can keep dryness and wrinkles at bay with foods that are packed with nutrients to keep your skin healthy, smooth and supple.” Beans and lentils – small, dense ingredients that are warming during the winter months – are superstars in the nutrition arena. Rich in protein, fiber, iron, magnesium and more, they are conveniently a staple in Lebanese dishes. Indulge in mujaddara,

thick with onions, rice and lentils, smug in the knowledge that it’s restoring collagen to your parched skin. If that’s not to your taste, stuffed zucchini serves up a powerful dose of antioxidants, with high levels of vitamin A, vitamin C and copper that protect the skin from harsh elements and prevent aging. Or there are always leafy green vegetables (think lettuce, arugula, mint and parsley); rich in vitamin C, Fahd promises they will ward off age-related skin damage. Say goodbye to sneezing It’s hard to feel upbeat when you’re hacking away like a faulty car engine. The common cold feels like an inevitable misery of wintry weather, but Fahd claims that “nature conspires to give you all your remedies within her own soil.” That means stocking up on fruit with high levels of vitamin C, such as oranges and kiwis, or adding bell peppers to your plate to boost the immune system. When cooking an evening meal, throw in extra garlic and chili to kill germs – the spiciness may be punishing at the time, but you’ll save yourself from a world of pain later.

Winter in Lebanon is like a long-lost, mustysmelling relative with erratic moods and a frown on her face. In the depths of the season, it can be tempting to swap supersized salads with carbohydrate-heavy meals that leave you lolling on the couch for hours.

A beauty _ inspiration

Soft/sleek by MacKenzie Lewis Kassab

Spring’s sexiest styles Slick and seductive If you thought long hair had the monopoly on sex appeal, you haven’t seen Sharon Stone in Basic Instinct. This season, Giorgio Armani proves that a slick, cropped style can carry just as much erotic weight as its flowing counterpart. Not for the meek, it’s a striking look that commands attention on the street and behind closed doors, particularly when paired with a low-cut neckline (or nothing at all).

1. Philip Kingsley Texturizer styling paste 2. L’Oréal Professional Tecni Art Aqua Gloss gel 3. L’Oréal Professional Tecni Art Fix Anti-Frizz Spray 2.

A good haircut is key, and once you’ve gone short the rest is easy. Wash hair with a moisturizing shampoo and apply a texturizing styling paste while it’s damp. Blow dry hair lightly before applying a wet-look gel and a mist of strong-hold hairspray.

1. Christophe Robin Wheat Germ Shampoo 2. Christophe Robin Volumizing Conditioner with Rose Extracts 3. Philip Kingsley Vented grooming brush

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Morning-after waves Rumpled bed-head is always sexy, so long as it’s done right. It should be polished enough to imply the wearer did, at one point, look perfectly pulled together, but messy enough to suggest that something scandalous has happened since. Chloé nailed the look this resort season with wavy textured locks, wayward pieces adding to the imperfection. If you can’t get the effect the good old-fashioned way, apply mousse to wet hair and brush through before drying. Hairspray creates piecey texture when applied just to the ends. Use a volumizing shampoo and conditioner between styling to keep hair looking thick, smooth and shiny.

A beauty _ romance

Look of love

Clockwise from left Armani Privé Pivoine Suzhou; Lancôme La Vie est Belle eau de parfum; Giorgio Armani Sì eau de toilette A 176

Sweet scents and crush-worthy colors

Clockwise from left Estée Lauder Nutrition Rosy Prism Radiant Essence Sérum Éclat; Giorgio Armani Black Ecstasy Mascara in Obsidian Black No. 01; Estée Lauder Pure Color Envy Sculpting Eyeshadow 5-Color Palette in Fiery Saffron No. 05; Estée Lauder Nutrition Rosy Prism Radiant Gel Emulsion; Yves Saint Laurent La Laque Couture in Nuit Noire No. 59 and Nuit Blanche No. 58; Yves Saint Laurent Rouge Volupté Shine in Rose Intime No. 28; Yves Saint Laurent Volupté Tint-in-Oil in Cherry My Chérie No. 05 177 A

KRISTIAN & REBECA EN COUPLE DEPUIS 3 ANS

148 SAAD ZAGHLOUL STREET - DOWNTOWN BEIRUT

A design _ update

On the edge

By J. Michael Welton

Exchange House (above) Skidmore, Owings & Merrill’s 1990 design for a 10-story office building in London has won the American Institute of Architecture’s prestigious 25A 180

Year Award. Sited in London’s Broadgate development, only five percent of its footprint touches the ground, opening up the largest plaza in the city. Visit som.com

Pushing the boundaries of design

9/11 Memorial Museum (left)

Davis Brody Bond’s somber exploration of the meaning of events and artifacts from September 11, 2001 has earned the firm an Honors Award from the American Institute of Architects. Beneath New York’s 9/11 Memorial, it documents the impact of that day’s attacks. Visit 911memorial.org

Aston Martin DB10 (right)

James Bond will once again drive an Aston Martin in Spectre, the 24th film based on the world’s most famous spy. Aston Martin worked closely with Sam Mendes, the film’s director, to create the DB10 sportster for Bond, played by Daniel Craig. Visit astonmartin.com 181 A

A design _ trend

Sleek, chic and fast By J. Michael Welton

Bicycle designers ponder more than just energy efficiency

Bixby (left)

Sandwichbike (above)

Sandwichbike was inspired by the twin concepts of flat-packing and home assembly. Designer Basten Leijh developed a “sandwich” of two weather-coated frames of layered plywood, bonded together by cylinders. It’s a bike shaped by solid technology. Visit sandwichbikes.com A 182

Denny (above)

Seattle-based Teague created Denny to remove barriers for the everyday rider. In 2014 it won hands down over four other design teams at the Oregon Manifest Bike Design Project competition, and it’s slated to debut later this year. Visit teague.com

Shinola’s Bixby has a gender-specific saddle, a steel frame and fork and proportional geometry. The frame features a custom Shinola dropout, fork crown and rack and fender mounts, along with internal cable routing. Visit shinola.com

Fuoriserie (left)

Pininfarina, known for its work on Ferraris and Alfa Romeos, is stepping up to bespoke bicycles. The Fuoriserie is made of handwelded tubes coated in walnut briar root, with leather details and a mini electric engine. Only 30 will be built. Visit pininfarina.com

Luna (right)

Florence-trained and London-based designer Omer Sagiv offers up Luna, his 3-D, print-ondemand bike. Its lightweight nylon frame, front fork and handle bar give it strength and durability, while other parts are off-the-shelf for lower pricing. Visit omersagiv.com

Rad e (left)

Opel looked to its classic 1928 Motoclub 500 when designing the Rad e, picking up its pressed-steel frame. The e-bikeâ&#x20AC;&#x2122;s 250-watt electric motor and a lithium-ion battery give support to any pedaling rider. Visit opel.com 183 A

A design _ history

Desert pioneers

By Robert Landon

ÂŠ Daniel Chavkin, Julius Shulman

The Palm Springs Architecture and Design Center opens its doors

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This page The Edwards Harris Pavilion exterior will be refurbished with moveable metal screens for light control Opposite page E. Stewart Williams’s Coachella Valley Savings and the Frank Sinatra House (bottom)

Set in a flat, bone-dry valley floor yet surrounded in every direction by rugged peaks, Palm Springs inhabits a world once spare and dramatic. No wonder the city attracted a bevy of great midcentury modernists wanting to strip architecture to its most elemental forms – and to forge wild, new relationships between nature and the built environment. Richard Neutra’s 1946 Kaufmann House is the most illustrious example, but Neutra was just one in a stable of local masters, including John Lautner, Donald Wexler and Albert Frey, who together pioneered the style that came to be known as desert modern. Now, the Palm Springs Art Museum has created the Architecture and Design Center, a dynamic new forum for the study and enjoyment of desert modernism. The most valuable object in the design center’s collection is the building that it occupies, E. Stewart Williams’s 1961 Santa Fe Savings & Loan. I attended the center’s opening last November, and it was thrilling to see the bank, cleansed and repurposed, literally glowing with new life. Reminiscent of Mies van der Rohe’s Farnsworth House, Williams’s bank is essentially a glass box bounded by two horizontal planes of concrete – a kind of radically simplified Greek temple. The lower plane is a plinth just above the ground on hidden columns, while its mirrorimage roof is held up by spindly steel piers that do their

best to disappear altogether. The building’s transformation from bank to museum was unexpectedly seamless, according to Leo Marmol and Ron Radziner, who took charge of the restoration and repurposing. “There were interesting synergies between the two uses, since we were working with what was basically one big, luminous space,” Marmol told me at the museum’s unveiling. Inside, interventions are relatively small. A museum shop occupies what was once the bank’s huge safe. The tellers’ windows have been removed, and a new elevator discreetly divides the shop from the main gallery. Until the ’50s, banks were made to look like impenetrable stone vaults, often with an encrustation of elaborate classical motifs in order to lend an air of permanence. By contrast, Williams eliminates marble walls and labyrinthine rooms in favor of a single, open, glasssheathed space. When he completed the bank in 1961, its design must have been at once seductive and unsettling. It had only been a few years since New York City’s Manufacturer’s Trust Company built the first glasscurtained bank in the U.S. “Modernism does make you more vulnerable,” says Marmol, “but it also makes you more open and accessible.” 185 A

A design _ history

This page The museum keeps desert modernism top of mind in Palm Springs Opposite page The Santa Fe Federal Savings & Loan

Appropriately enough, the museum’s inaugural exhibition pays tribute to E. Stewart Williams himself. Trained in the Beaux-Arts style at Cornell University, Williams discovered modernism during a trip to Europe in 1938. Both Williams and desert modernism got a huge boost the day Frank Sinatra wandered into Williams’s office eating an ice cream cone. He said he wanted a new house built by the end of the year. Williams said he would get right to work, and won Sinatra with a modernist design that would become the model for a whole generation of homes. Still today, Palm Springs has one of the highest concentrations of midcentury modern architecture in the U.S. As a new generation discovers the charms of Palm Springs, the city is undergoing a construction boom that is unfortunately resulting in the destruction of some jewels of desert modernism. Fortunately, the new Architecture and Design Center, located at the heart of downtown Palm Springs, is sure to help promote and preserve the city’s greatest architectural legacy.

300 South Palm Canyon Drive, Palm Springs, California, psmuseum.org

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A design _ artisan

Rewriting history

Sara Ouhaddou transforms classic patterns into new art forms

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ÂŠ Artecase / Sara Ouhaddou

By J. Michael Welton

This and opposite page Sara Ouhaddou references tradition and contemporary life, resulting in original work with an element of familiarity

Sara Ouhaddou is a 28-year-old Moroccan artist, educated in Paris and dedicated to breathing new life into ancient art forms. She begins by researching centuries-old Moroccan drawings from the northeastern city of Tetouan. “I find old patterns and do a complete deconstruction, like an explosion,” she says. “I use it as a demonstration for the younger generation to show them that traditional art can be the basis for innovation.” Armed with a grant from the Beirut-based Arab Fund for Art and Culture, Ouhaddou has recovered long-lost designs for embroidery and ceramics. She reinterprets them using unexpected materials, like rubber recycled from used tires. “They burn it in Morocco and it’s bad for the environment, so my work is a reflection of that,” she says. “I decided to use it as a fabric.” She tracked down weavers and craftsmen, seeking ways to incorporate the rubber into embroidery for upholstery, weaving it into cotton and leather for use on pillows and cushions atop ceramic taborets. “I’m using the same techniques that craftsmen use for leather, just transposed to rubber,” she says. “Some of it is 80 percent rubber and 20 percent leather, and some is 100 percent rubber.” She’s created a series of six taborets in her newest collection, with pieces constructed from embroidered and recycled rubber, but also embroidered cushions on clay bases, and metallic and red-lacquered ceramic. Ouhaddou’s deconstructivism is not limited to embroidery; she’s also ventured into the world of ceramic tiles, shaping traditional mosaic patterns into three-dimensional pieces with a poetic feel. “I’m always searching for traditional art that belongs to the older generation, so I go deep into Moroccan history,”

she says. “I’m trying to find something specific that no one knows, but I’m also looking at mainstream art to show how it can be new.” Her tiles are influenced by the delicate Fez tradition, with its imperfections and Spanish/Arabic roots. Each tile – there are five patterns – is handcrafted. And each is different, the result of a firing technique that emphasizes the tension wrought by her use of space and depth. “Everyone knows the Moroccan mosaic – but I’m rewriting it,” she says. As she works, she’s inspiring the next generation of Moroccan artisans too, helping them find new direction from old ways – and escape the boredom often borne of repetition. “It’s a way to be modern,” she says. “They’re waiting for someone to show them that it’s not just a craft.” They’ve found the right person in Ouhaddou. When she opened the door to her class at the School of Embroiders in Morocco, she had just four students. But by the time she’d finished, there were 21. “I’m trying to turn craftsmen into artists,” she says. “It’s very ambitious and very optimistic.” And so far, very successful. Sara Ouhaddou’s work is available through Artecase, arte-case.com 189 A

A design _ boutique

Divine intervention By Robert Landon

In the shadow of the High Line, a new boutique is poised to become a key player in the Chelsea gallery scene. Called simply Chamber, it occupies the ground floor of HL23, one of the most revered contemporary buildings in New York. In a neighborhood where last month’s fashion is considered a mortal sin, Chamber positions itself less as a shop than a reliquary – one of those half-hidden rooms in a church where the faithful venerate bones of saints and bits of the True Cross are enshrined. However, in this case, the objects of worship consist of specially commissioned and limited edition designs, plus rare and vintage items. “The driving force behind Chamber is to elevate the status of designed objects through their narratives.

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A New York shop exalts extraordinary objects

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A design _ boutique

This and previous pages The boutique functions as a cabinet of curiosities, curated by a new designer or creative every two years

I am as fascinated by the stories behind the objects as I am by the stories of collectors who share this passion,” explains Juan Garcia Mosqueda, the store’s dashing Argentine founder. “Chamber aims to be a destination for those who love discovery of the unique.”

For architectural fans, Neil Denari’s hybrid painting/ sculpture fashioned from neon tubes is a particular standout. While Chamber’s interior is the work of MOS Architects, Denari is the mind behind HL23 itself, a building remarkable for its aesthetics as well as its engineering. Constructed with a complex series of cantilevers, Denari’s building emerges with a strange inevitability from its tiny lot just next to the High Line. A 192

While HL23 is all about openness and expansion, Chamber’s ground-floor interior takes us on a much more closed, inward-looking journey. MOS Architects is celebrated for its ability to create seductive little worlds carved out of larger cityscapes, and in Chamber the firm has certainly created a universe with its own set of rules. As you enter by a long narrow corridor, you feel the profane world slip away as you progress toward the inner sanctuary. Gradually, your soul becomes prepared to make direct, material contact with the demiurges of contemporary design. 515 West 23rd St., New York, tel. 1.212.206.0236, chambernyc.com

Garcia Mosqueda is a veteran of both the Museum of Modern Art architecture and design department as well as Moss, which until its closing in 2012 was considered the top design gallery in New York. To help curate the boutique’s offerings, Garcia Mosqueda has hired the Dutch design duo known as Studio Job. Together with Garcia Mosqueda, they have constructed a virtual who’s who of modern and contemporary design, from Theo Ruth to David Bowie (yes, that David Bowie). There are handbags by Devaux, children’s toys by Ko Verzuu, sculptures by Alessandro Mendini, a breast-shaped light fixture by Studio Job and much, much more.

www.napapijri.com

Available at A誰zone stores +961 1 99 11 11

A high art _ exhibitions

Sarah Morris Since the ‘90s, British-American artist Sarah Morris has been creating abstract work that comments on urban and social structures. Launching her career with dramatic, vividly colored graphic paintings, she introduced film as another medium to investigate the psychology of a city and its inhabitants, such as Los Angeles, her 2005 film on the city’s fantasy-focused film industry. Stop by White Cube to see a carefully curated selection of her work, including her new series on complex, chaotic Rio de Janeiro. On view until March 28 at White Cube São Paulo, Rua Agostinho Rodrigues Filho 550, Vila Mariana, tel. 55.11.4329.4474, whitecube.com

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© Jaber Alwan, Harumi Klossowska / Gagosian Gallery / Robert McKeever, Pace Beijing, Courtesy Galerie Thaddaeus, Ropac / Erwin Wurm / Eva Würdinger, Sarah Morris / White Cube, Virginia Overton / White Cube

On view

Angst/Lache Hochgebirge Often credited with redefining the idea of sculpture, Austrian artist Erwin Wurm rose to fame in the late ‘80s for his “one minute sculptures.” With a notoriously humorous approach to art, he continually challenges the viewer’s perception of reality with comic elements from contemporary society. His solo exhibition at Galerie Thaddeus Ropac features three-dimensional ceramic works, as well as bronze sculptures, that challenge traditional forms through precarious states of distortion. On view until March 14 at Galerie Thaddaeus Ropac, Mirabellplatz 2, Salzburg, tel. 43.662.881.3930, ropac.net Unlived by What is Seen Chinese contemporary art has been rapidly gathering momentum in recent years, so what better way to celebrate it than with the fifth installment of the annual “Beijing Voice” exhibition? Taking place at Pace Gallery, alongside two other major galleries in Beijing, this iconic summary of 34 artists examines what happens to art as it transforms and transmutes. On view until March 15 at Pace Gallery, 798 Art District, Chaoyang District, tel. 86.10.5978. 9781, pacegallery.com

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Virginia Overton Renowned for the distinctive roughness of her work, Virginia Overton has transported the agricultural ethos of her native Nashville into the hallowed halls of White Cube. Favoring elemental materials like wood and metal, she cuts and hammers them into sculptures striking in their minimalism. Be transported into the world of working-class America through her poignant use of visual iconography and evocative installations. On view until March 14 at White Cube, 25-26 Mason’s Yard, London, tel. 44.207.930.5373, whitecube.com A 198

A high art _ exhibitions

Balthus Retrospective As an artist who immortalized the streets and citizens of Paris, it’s fitting that Gagosian Paris has chosen to showcase Balthus’s illustrious career with a retrospective that includes his paintings, drawings and photographs. Rejecting the Surrealist movement, the reclusive artist’s signature use of dramatic lighting and a muted palette explores timeless themes of uneasy adolescence and urban life. On view until February 28 at Gagosian Gallery, 4 rue de Ponthieu, tel. 33.1.75.00.05.92, gagosian.com Conditions Exploring the many states of human nature, Iraqi-Italian artist Jaber Alwan’s solo exhibition at Beirut Exhibition Center showcases 60 works from the painter’s career. The only expatriate to win Rome Municipality’s “Best Artist” prize, Alwans’ paintings have been displayed across Europe and the Arab World. Whether his work is conveying the depths of suffering or the giddy elation of love, expect to be moved by his celebration of mankind. On view until February 23 at Beirut Exhibition Center, Minet Al Hosn, tel. 961.01.962.000, beirutexhibitioncenter.com

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A high art _ theme

Compositions By Pip Usher

ÂŠ Nabil Ismail

MAS Beirut celebrates a close community of emerging artists

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This page In the main space, pieces by Alexander May, Karen Chekerdjian and Gianni Piacentino set the tone for the show Opposite page Cedric Rivrain’s “Sugar Drama”

Balice Hertling, a Paris-based contemporary art gallery focused around emerging talent, has brought its family values to Beirut. Gallery owner Daniele Balice has nurtured the 10 artists selected for MAS Beirut’s latest exhibition, “Compositions,” since their respective careers launched. A tightknit clan, they’ve grown up alongside one another, artistically and literally. Now their talents have united in one diverse exhibition that explores contemporary art in all its forms. With most of the works sharing an element of tactility, Neil Beloufa’s spongy

foam and metal creations sit alongside the large-scale, velvety-soft abstract works of Isabelle Cornaro. “Most of the artists here are close friends of mine,” Cédric Rivrain explains over a pot of chamomile tea in the tranquil gardens of MAS Beirut. “I am very touched by their work.” One of the rising stars featured in “Compositions,” Rivrain adds an element of melancholy to MAS’s whitewashed walls with the sparse realism of his pencil portraits. Rivrain’s origins in fashion illustration, 201 A

A high art _ theme

ThisAbove pageOlivier Working Zahm’s class London’s skinheads, the “The Farnese Collection counterculture toNational the era’s at the hippies Archeological Museum” Right Two untitled works by Alexander May

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One room This page Working is tranformed class London’s skinheads, the with pieces by Agostino counterculture to the era’s Bonalumi, Isabelle Cornaro hippies and Karen Chekerdjian (top), while works by Julie Beaufils, Tarik Kiswanson and Chekerdjian strike a balance elsewhere in the gallery (bottom)

including work for John Galliano and Karl Lagerfeld, mean he spent his formative years being enchanted by pretty things. After the devastating loss of both parents by the time he was 20, he threw himself into the fashion world, explaining that “it was all light and fun and I could forget about the sadness.” But the sparkle eventually wore off. He’d been told many times before that his highly stylized fashion illustrations looked sad; now, he wanted to translate his emotions into meaningful work that challenged his abilities as an artist. With the gluttonous glamour of the fashion industry, “the perfection got boring.”

His exhibited drawings (Rivrain refuses to label them as illustrations; after years being dictated to by fashion houses, the term has connotations of artistic constraint) certainly cement this new direction. In “When You Were Mine,” a half-finished face gazes directly at the viewer with mournful intensity; “Face Plaster XII” cloaks a set of meticulously crafted eyes with a Band-Aid mask that adds a subtle three-dimensional element to the portrait. Smiling, Rivrain says that he doesn’t describe himself as a sad person, but his drawings act as an outlet for emotions that otherwise go unexpressed. Constantly exploring themes 203 A

A high art _ theme

“Untitled Lantern” by Eloise Hawser

of “impatience and sadness,” his fascination with grief is visibly woven throughout his work, each drawing’s generosity of empty space suggesting a deeper emptiness and sense of isolation.

Runs through March at Metropolitan Art Society, Trabaud St., Ashrafieh, tel. 70.366.969, masbeirut.com A 204

In a rather meta spin on art, Rivrain has started drawing his contemporaries’ work, recently sketching fellow exhibitor Alexander May’s clay sculpture of a head. Viewing it as a “cute baby,” he loved the process of creating a portrait of an art piece that resonated with him. He’s also experimented with drawings of mechanical creations, mournful-looking machines that “cried for him.” As he becomes better at acknowledging his emotions, his confidence as an artist grows. “Paper and canvas are the road that I know,” he shrugs. “I can experiment in many different ways, and it’s always a friendly path.”

A high art _ status

This page “Vivien in Black Hat,” by Alex Katz Opposite page E.O.A.’s latest show explores creativity and status through artists including Mohammed Shammarey

By Jasper Toms

Edge of Arabia goes anti-establishment

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Calling on his experience over the past decade, Stapleton regrets how “the art world has such severe status anxiety and in the Gulf it is particularly strong.” While many are happy to go with it as the Arab art scene develops, Stapleton describes the meeting of artistic creativity and social climbing as “a place of extreme tension” for him, particularly when it comes to the V.I.P label ascribed to successful artists and curators. “Having been both artist and curator, I feel I can safely criticize,” he laughs. In part to relieve that same tension from its overlap with his own organization, and in part to have a dig at the majority who do go with it, E.O.A. has started to shift its direction through projects in Saudi, the U.K. and the U.S. “We’re trying a new approach in the London space and the V.I.P. show is part of that,” says Stapleton, referring to the gallery’s recent move to redress its position as yet another cog in the art-world machine.

V.I.P. issues

What does Alex Katz’s painting “Vivien in Black Hat” have to do with the status of a sheikh? Quite a lot, according to Stephen Stapleton, co-founder of art platform Edge of Arabia (E.O.A.). “I saw that image and it instantly reminded me of the art world’s obsession with the aesthetics of status,” he explains as he discusses the new show called “Very Important People” at E.O.A.’s London space.

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A high art _ status

A painting by Saudi artist Noorah Kareem sends a provocative message

Having established itself as a successful international platform, E.O.A. is now changing in light of that feeling and in protest to that political reality. After achieving art world recognition, the founders feel they have drifted from what they initially set out to do. E.O.A. was founded in Saudi Arabia in 2003 by three artists: Ahmed Mater, Abdulnasser Gharam and Stapleton. It A 208

was a collaborative, exploratory venture that grew as the Arab art boom happened. Now the founders view the new big-name museums in the Gulf as alienating to the local art scene that has evolved via grassroots projects like their own. With the bitter taste of museum franchise in its mouth, E.O.A. are re-positioning itself as a counterpoint to the power pyramids of the Louvre and the Guggenheim. “It’s easy for smaller organizations to be intimidated if they don’t have the years of research [that the big museums have] behind them, but I’m a believer in genuine creativity and the power of working in intuitive ways,” says Stapleton. Ever the artist, this latest curatorial project aims to use the Gulf ’s V.I.P. hyperbole to address the art world’s flagrant status issues. Visit edgeofarabia.com

Expanding on his inspirational moment with the Katz image, Stapleton explains why he themed the show around V.I.P.s in particular: “Art fairs have these stupid mechanisms of measuring what sort of V.I.P. you are. Like many other artists I’ve had that experience of being a nobody and then suddenly people think you’re a somebody. It gives you a strange feeling and that feeling is a reflection of a political reality that exhibitions should be discussing.”

coMposiTions aRTwoRks by: caMille blaTRix, Julie beauFils, neil belouFa, kaRen chekeRdJian, isabelle coRnaRo, eloise hawseR, TaRik kiswanson, alexandeR May, cedRic RivRain, olivieR ZhaM

open FRoM Tuesday To sunday 11 aM-7 pM MeTRopoliTan aRT socieTy, TRabaud sT., ashRaFieh, beiRuT, inFo@MasbeiRuT.coM, T: 70.366.969

A high art _ truth

The real world

Meet the Johns

Three galleries along West 24th Street in New York City opened recently with work by two artists, John Waters and John Miller, who both use and subvert images and aesthetics from Hollywood. They also happen to be fans of each other’s work.

and at Mary Boone Gallery just steps away. Miller’s newer paintings play with anguished reality T.V. moments. And his so-called “game show paintings” dating from the ’90s digitally alter and blur the bright production design from shows like The Price is Right.

Waters, 68, is best known for his cult films over the last 50 years but has sold his artwork for nearly has long. “Beverly Hills John” is on view at Marianne Boesky Gallery’s Chelsea location. Waters’s works on view mash-up and distort pictures, using video grabs, publicity stills, film titles and the tropes of tabloid newspapers.

Each artist made a point to visit the other’s exhibition last week, though the two have yet to meet. Comparing his work to Waters’s, Miller said, “We both use lurid or even nominally repulsive materials to make something beautiful.” Waters said of Miller, “I have been a fan of his because his works are always clever and rude and every thing I like.” Waters added, “I see the sense of humor that we share.”

Just down the street, Miller, 60, has a doublegallery show entitled “Here in the Real World” at his longtime gallery Metro Pictures A 210

For example, Waters’s series of imagined

By Laura van Straaten

This page “Beverly Hills John” (2012) imagines Waters as a victim of botched plastic surgery Opposite page In John Miller’s painting “Project #3” (2012), a downcast cast-member from NBC’s The Biggest Loser hides his face

plastic surgery gone wrong (courtesy of Photoshop) features hilarious/scary distortions of pop star Justin Bieber, the ’50s showbiz dog Lassie and Waters himself. Miller’s series of reality T.V. moments from around the world are muted sepia-toned portraits in a realist manner of cast-members weeping and clutching hankies. Miller explained his fascination with the reality sub-genre of T.V. moments “where there is not an explicit prize” (such as cash or a recording contract) but rather “the implicit prize is power and prestige, even if the power and prestige is just to be recognized as a charismatic individual.” He also described an abiding interest in exploring the cultural touchstones of the American middle class, which he termed an “embattled demographic.” Waters uses images in similar ways, as in his arresting 2014 piece “Shoulda!” (titled after Kroger Babb’s 1949 exploitation movie She Shoulda Said “No!”), in which Waters juxtaposes images of female stars who died in tragic ways: Whitney Houston, Patsy Cline, Anna Nicole Smith and Amy Winehouse. Waters said he has hanging at his apartment in New York a 1986 piece from one of Miller’s best known series of work, all in thick brown paint. Called “I, A Man” after an Andy Warhol movie, the piece is “in the shape of the letter ‘i’ but it is brown and looks like it’s made of feces,” Waters said, “It speaks to me.” Miller, in turn, owns an early work of Waters’s called “Despair,” featuring a series of film end-titles that say “Directed by Alan Smithee,” which is the pseudonymous credit used when a director disowns a film, presumably because it’s somehow been botched. Miller described “a romantic/nostalgic attraction to Waters’s early work.” “I first saw it as a high school student at a time when

there was still an active counter-culture in the U.S. and there still was an underground,” Miller reminisced almost wistfully. “Back then it offered me a glimpse outside the mainstream. Now, I think the mainstream has assimilated those aspects.”

“Beverly Hills John” runs until February 14, marianneboeskygallery.com “Here in the Real World” runs until February 14, metropictures.com, and until February 28, maryboonegallery.com 211 A

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ÂŠ Chroma

residence

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This page The Moving Museum Istanbul featured works by 46 artists, including Hannah Perry Opposite page A thought-provoking piece by Aslı Çavuşoğlu

Can a museum exist without a physical home?

Few things invoke images of archaism and tradition like the term “museum.” Aya Mousawi and Simon Sakhai would have it otherwise, however, as their project The Moving Museum (TMM) proposes a new model for the art world’s most august type of institution. Launched in 2012, TMM is an experiment in “nomadic programming;” it’s a curatorial mission with no fixed abode, inspired by the travelling circus of the art scene as it relocates around the world for its cycle of fairs and festivals. Following earlier stops in London and Dubai in 2012 and 2013, Sakhai and Mousawi established an international residency program in Istanbul for TMM’s recent instalment. Headquartered at Ark Kultur, a modernist ’40s villa in Cihangir, Beyoğlu, there were discussions, exhibitions and

workshops. So far, so familiar, but Mousawi ventures, “What we did in Istanbul, I think, has never been done in the art world before.” Answering any concerns that TMM just passes through its host cities, she counters that their projects “grow roots with lasting impacts on the places we travel to.” TMM collaborates with a number of Internetled artists; Zach Blas, Amalia Ulman and Jon Rafman took part in Istanbul, for example, lending the programming their post-Internet aesthetics. This identity syncs with contemporary lives that are at once digitally connected and physically in flux – experienced by both artist and audience. For a generation of artists, finding inspiration, collaborating, networking and distribution happens online. It follows that what began as a mobile institution would evolve into a 213 A

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This page IMM Istanbul (top) and work from Anne de Vries (bottom) Opposite page The roaming museum, here featuring Volkan Aslan, Anne de Vries (top) and Nilbar Gures (bottom), aims to create lasting relationships with the cities it inhabits

be digital archives, digital exhibitions and social media residencies, while others will be artworks themselves.” The aim is to move on from retrospective attitudes that limit the form and function of the web-based museum by assuming it should imitate the established norms of physical museums. Websites like Rhizome and Artsy have already been probing at what shape an online art world might take, while Google is methodically virtualizing the collections of existing physical museums. TMM WWW is having the first bash at constructing a museum that is entirely online and formed by the characteristics and conditions of the Internet.

web-based museum, as it will do this year when TMM becomes TMM WWW. As the founders put it, TMM will “find permanent residence online.” Led by digital media artist Jeremy Bailey, a creative team is conceiving for TMM a progressive notion of how a web-based museum should be. Mousawi reveals what Bailey and his collaborators Joe Hamilton and Jonas Lund are developing. Their concept will “reimagine the website as an operating system in which the functionalities are within individual apps”, she says, going on to clarify that “some of these apps will

As the generation of digital natives grows up and becomes empowered to drive innovation, there is little reason for online media to imitate offline experience. Bailey reiterates the questions TMM WWW began by asking when he says, “What is a museum on the Internet? Many people have proposed various designs over the years, from directories and archives to 3D-rendered exhibition spaces and blogs. But none have really understood that the Internet is antithetical to the traditional idea of a museum. A museum is bedrock, it is a place where history is stored and conserved. The Internet is a flowing stream, it is a place where history is re-contextualized and distributed. Why shouldn’t a museum on the Internet behave the same way?” Visit themovingmuseum.com 215 A

A high art _ choreographer

A second act

Christian Lacroix designed costumes for “The Tarnished Angels” in 1987

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By Laura van Straaten

“Making Art Dance” brings over 30 years of the choreographer’s work to life

Choreographer Karole Armitage’s career goes on display “There is no other space in the New York area where you could do this,” says Jeffrey Deitch. And so, on a recent Sunday afternoon, more than 2,000 people, mostly from New York City, trekked to the industrial wasteland of Jersey City, New Jersey. The occasion? The opening of a retrospective on the creative collaborations of “punk ballerina” choreographer Karole Armitage, including costumes, props and set pieces too huge to showcase anywhere but the 50,000-square-foot space designed by Richard Meier as the centerpiece of the arts campus Mana Contemporary, which opened last year about 30 minutes from Manhattan. Deitch, Armitage’s longtime friend and until 2013 director of L.A.’s Museum of Contemporary Art, served as curator at her request. “Making Art Dance: Backdrops and Costumes from the Armitage Foundation” celebrates the choreographer’s collaborations with fashion designers including Christian Lacroix, Jean Paul Gaultier and Donna Karan’s lead designer Peter Speliopoulos, as well as with artists and filmmakers including Alba Clemente, Jeff Koons, James Ivory, Christian Marclay, Brice Marden, David Salle and Philip Taaffe.

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A set and lanterns by David Salle, costumes by Peter Speliopoulos and fluorescent lights by Clifton Taylor recreate the mood of 2007’s “Ligeti Essays”

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Armitage is best known as a maven-of-moves for Michael Jackson and Madonna (including 1990’s “Vogue”), two Broadway productions (“Passing Strange” and “Hair,” which garnered Armitage a Tony nomination), several Merchant Ivory films and Cirque du Soleil’s 2012 tent show “Amaluna.” But she is also the only choreographer to have worked with both George Balanchine and Merce Cunningham.

Armitage, who broke from a rehearsal to be interviewed with her dancers scattered nearby, stressed that this “an art exhibit, not a costume show,” noting the choice of oldfashioned dress forms instead of the display mannequins often employed in blockbuster museum exhibitions about fashion. Deitch made the point that a lot of set design is “done kind of notationally” but these

A high art _ choreographer

Top Karen Kilmnik sets and costumes by Alba Clemente for “Made in Naples,” 2008 Bottom A David Salle backdrop and costumes for the 1986 production of “The Elizabethan Phrasing of the Late Albert Ayler”

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works are “made by the artists’ own hand.” He added, “They are not just backdrops, they are paintings.” In the room devoted to production design for 2009’s “Itutu,” it’s a delight to stand between two enormous backdrops painted by Philip Taaffe while examining Speliopoulos’s costumes stitch by stitch. David Salle’s diverse designs thrill throughout. James Ivory’s watercolor sketches of costumes he designed in 1997 for Armitage’s “Apollo e Dafne” are meticulous and lovely. And a back wall devoted to Speliopoulos’ sketches, fabric swatches and Polaroid photos of performers illustrate the joy and hard work of creative collaboration, as does the exhibition as a whole. Until her current troupe, Armitage Gone! Dance, took up residency last year on the Mana campus, the hundreds of objects that comprise the show were stored, she said, with “relatives in Texas who had a barn, in her apartment and in a shed” she owns in Crested Butte, Colorado, which provided, by chance, optimal low-humidity conditions: the objects on view are pristine.

The choreographer’s costumes, props and pieces from various sets fill the 50,000-square-foot space

Armitage said she never fantasized about a retrospective, but rather held onto everything because “in dance we have a history of reviving things.”

The one disappointment here is that a cramped video shack constructed smack in the middle of the colossal space provides the only way to see video and film of past performances. Perhaps archival footage might be integrated throughout and thus bring the costumes and sets from this stellar show to life when it hits the road in coming months for Mana Contemporary Chicago. Runs until March 13, 888 Newark Ave., Jersey City, New Jersey, tel. 1.800.842.4945, manacontemporary.com A 220

Indeed, in excerpts of historic works she revived to celebrate the show’s opening, Armitage dancers leapt and pivoted with costumes and production elements as colorful scenery.

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A high art _ vantage point

New York looks east

By Jasper Toms

Middle Eastern art gains international attention

It’s a logical fit – you can’t expect to turn anywhere influential in the Middle Eastern art scene this year and not be greeted by the name Omar Kholeif somewhere in the curatorial notes. From featuring in ArtLyst’s Power 100 list to curating this year’s Abraaj Group Art Prize at Art Dubai and the Cyprus Pavilion at the 56th Venice Biennale, Omar Kholeif appears somewhat omniscient in 2015 as the rising star of his career coincides with the solidification of art-world interest in the Middle East and its close neighbors. A 222

With Frieze changing hands, there’s an opening this year for the most important art fair in New York City. The Armory Show 2015 takes place this March in its Midtown location on the industrial piers that jut west into the Hudson River. This year’s focus is on art from the Middle East, North Africa and the Mediterranean (MENAM) under the curation of Omar Kholeif, who selected Lawrence Abu Hamdan as this year’s commissioned artist.

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This page Abu Hamdan’s “Conflicted Phonemes,” part of “Aural Contract: The Whole Truth” at Casco in Utrecht (top) and “Aural Contract” at Beirut Art Centre last spring (bottom) Opposite page “The Whole Truth” at Tate Modern, London

Omar Kholeif ’s family may be Egyptian (he was raised in Glasgow but born in Cairo) but his primary interest is in the intersection between art and contemporary technology rather than art from his region. As a result, his programming often centers around artists working digitally, exploring narrative media, or addressing the conditions that technology places on art. Hence we see Yto Barrada winning the 2015 Abraaj prize, Sophia Al Maria having a solo show at F.A.C.T., Liverpool (where Omar Kholeif is curator), and Lawrence Abu Hamdan commissioned for The Armory Show. Omar Kholeif ’s own interests coalesce perfectly with the regional trend towards documentary-style and video art. If you consider narrative media to be the logical evolution of oral storytelling, the most dominant artistic tradition to be passed down across the Arabian cultures, this can be seen as little coincidence. Since the Arab art boom began 10 years ago, interest in work from the region has grown. This is an exciting time as the international art world begins to draw more subtle distinctions within the sweepingly broad category of “art from the Middle East” (and North Africa, the Southern Mediterranean, Iran – the boundaries aren’t clearly defined). The most commercial aspect of that world manifests in fairs like The Armory Show, giving it tremendous influence as collectors develop an understanding of national, stylistic and media variations within regional art. Sharp to Middle Eastern art’s proliferating moment, The Armory Show has not only enlisted Omar Kholeif but is partnering with Art Jameel and Edge of Arabia to articulate their additional programs. While Art Jameel is the education partner for the Focus Symposium, Edge of Arabia is dubbed lead cultural partner and set to park its traveling studio outside the fair as part of its American tour. As the commissioned artist, Abu Hamdan, who was born in Jordan and works between Beirut and London, is producing a project that explores “the politics of listening,” evolving from his background in sound art. Omar Kholeif says the artist’s work “unfolds crucial questions about our reliance on technology,” while The Armory Show Executive Director Noah Horowitz says he “has emerged as one of the most decisive voices with an acute interest in the politics of expression.” The Armory Show runs March 5-8 at Piers 92 and 94 in New York City, thearmoryshow.com 223 A

A high art _ revolutionary

Stranger than sex

ÂŠ Guy Bourdin

By Jasper Toms

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This page A Surrealist take on Charles Jourdan shoes for the fall 1979 collection Opposite page Bourdin’s fall 1970 campaign for the designer

There’s more to Guy Bourdin than seductive clothing campaigns suggest Guy Bourdin is one of Paris Vogue’s golden photographers, a visionary image-maker whose legacy remains potent half a century after he revolutionized the way we consume fashion’s seductive fantasies. The defining tone of his photographs was their subversive amalgamation of humor and titillation: a telephone cable riding high between a model’s thighs as she speaks into the

receiver, or two knock-out girls wrapped in towels feasting on a plate of phallic Frankfurters. Such images mingle feelings of desire and uncertainty for a result that Surrealists labeled “convulsive beauty,” feeding the irrepressible human attraction to the strange. It was the side-glance of Surrealism that legitimized suggestions of violence in Bourdin’s images. Unlike the femme fatale portrayed by peers such as Helmut Newton, his muse was cast as imperfect and vulnerable in the glare of his lens – bleeding from the mouth; face down for the camera; cut off at the knees; half-dead behind the eyes. The unrealistic nature of his set-ups (scarlet paint as blood, formulaic sets framing the model) makes them more kooky than frightening, locating their misogyny

and objectification on just the right side of the line between amusement and discomfort. “Guy Bourdin: Image-Maker,” a new exhibition at Somerset House in London, places emphasis on this Surrealist slant and other aspects of Bourdin’s practice that reveal him as more than just a fashion photographer. It explores his deeper concerns through a remarkable volume of previously unseen photographs, video, sketches and even paintings, resulting in the largest ever show of his work in the U.K. This was made possible because his estate has only recently released several works made between 1955 and 1987, including a series of campaign shots taken for French shoe designer Charles Jourdan that sets a pair of dismembered mannequin legs in quotidian scenes around Britain. These new 225 A

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This page All eyes were on Charles Jourdan’s spring 1979 campaign (top); a snapshot from the artist’s archive (bottom) Opposite page Bourdin continued the theme for Charles Jourdan in 1977, but expanded his view for the 1980 Pentax calendar (bottom)

images display how a set of visual refrains including tightly framed landscapes, fashion accessories and women’s feet came to shape his oeuvre, going on to influence the language of fashion film and advertising today. Despite the technological leaps that digitization has introduced, insight into the psychology of Bourdin’s image-making underlies much of today’s contemporary iconography. This is most evident in the exhibition through films and personal Polaroids, which contrast intensely with his edited photographs; they communicate a stream-of-consciousness that feels not unlike scrolling through an Instagram account. His Super-8 recordings of fashion shoots are installed full-scale on a set of four screens to surround visitors, giving the sense of being behind the scenes and contrasting the perfection of a final photograph with the imperfections of its production process. Most interestingly of all, Bourdin sketched out every scene before he photographed it, and also made poetry and paintings that echoed the residual obsessions of his 40-year career. This suggests the creative mindset of a master craftsman with a totalitarian vision, even when his scenes are cast as nothing more than provocative product placement. Runs until March 15 at the Embankment Galleries at Somerset House, London, tel. 44.20.7845.4600, somersethouse.org.uk 227 A

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A lifestyle _ decadence

Swing from the chandeliers

Four sexy clubs live up to their reputations

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The other day I asked my friend how he was, expecting the usual “I’m good.” His response? “I’m sexy, thanks.” The definition of sexy, it seems, has become a little loose over the years. It’s no longer a word that causes gasps and blushed cheeks when spoken aloud, but instead is an integral part of our culture, particularly when it comes to nightlife. How do we discern the truly seductive from the long list of self-acclaimed “sexy” clubs and bars that are popping up across the globe on an almost daily basis? My advice, stick with what you know: cabaret, corsets and cocktails. Provocative spots in four cities are still raising eyebrows in an age of twerking teenagers and naked selfies.

Circus British designer Tom Dixon’s surreal, mirrorcovered interiors create a decadent world of seduction where anything’s possible. The long, quartz-clad banquet dining table doubles as a glittering runway for the waiters-cumperformers who serve dinner and cocktails to the club’s glamorous guests. After plates are cleared, the flamingo-legged tables are pushed back, heels kicked off and music turned up. Things can get a little freaky in the early hours, but then again you’re not likely to make it far down the entrance alleyway if you’re looking for the ordinary. 27-29 Endell St., London, tel. 44.20.7420.9300, circus-london.co.uk

By Millie Walton

The Box If you’re over the age of 16, you’re likely to have heard of this infamously mysterious, risqué and exclusive “theater of varieties.” The rules are simple: If you’re not on the guest list, you’re not getting in, no matter what the bribe or whether you’re dressed head to toe in Prada. The scantily clad performers are as spectacular as the drinks are spectacularly expensive, and the crowd is young, beautiful and wealthy to match the decadent, red velvet-draped furnishings. Admittedly, newer, edgier joints have popped up around the city in recent years, but The Box still holds the ultimate allure, promising to tap into your deepest and darkest fantasies. 189 Chrystie St., New York, tel. 212.982.9301, theboxnyc.com 233 A

Le Crazy Horse It will come as no surprise that the city of love is the original home of cabaret; the French are famed for their wildly romantic and passionate personalities, so when it comes to saucy after-dinner performances they really pull out all the stops. Opened in 1951 by Alain Bernardin, this Parisian spectacle promises a night so thrilling and taboo that it could entice even the most prim and proper of ladies into a world of debauchery. Female dancers with suitably provocative names like Nahia Vigorosa and Fasty Wizz, often wearing only the skimpiest strips of black tape, tantalize the audience with sensual yet artistic dances. 12 Avenue George V, 8th arrondissement, Paris, tel. 33.1.47.23.32.32, lecrazyhorseparis.com A 234

ÂŠ Circus, AntoinePoupel, Salon Zur Wilden Renate, The Box

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Salon Zur Wilden Renate This club on Berlin’s east side steers away from vintage glamour, leaning towards the dirtier side of sexy. It’s like a sprawling adult playground complete with paddling pool, giant projected images of eyes, corsets hanging on washing lines and hidden corners. The atmosphere changes from night to night depending on how many floor spaces are open, the themes and who’s on the decks, but at the very least you can expect outlandish costumes, colored lights and eccentric people who really know how to dance. It’s easy to be seduced by the promise of escapism and, true to the city’s party-hard reputation, those who go in rarely emerge before the end of the weekend. Alt-Stralau 70, Berlin, tel. 49.30.2504.1426, renate.cc A 236

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A lifestyle _ temptation

The psychology of adultery By Pip Usher

Can breaking the rules be better for your marriage?

It’s not hard to make the leap from Biblical tales to modern-day marriage. The morality behind Adam and Eve’s story fits nicely within the traditional constructs of marriage that have been advocated by religion and society for millennia. The rules are simple: once you’re in it, you’d better behave. The past century has seen colossal shifts in attitudes towards marriage, with divorce becoming increasingly acceptable around the world. Attitudes towards sexuality have also evolved as gay rights and the female orgasm have dominated debate and joined the mainstream. Yet despite all of that, extramarital sex still seems to be universally accepted as unacceptable. Why are we willing to adhere to this when we’ve been quick to discard other age-old taboos? The New York Times shared research in which 90 percent of American men and 94 percent of the women surveyed believed that adultery was “always wrong” or “almost always A 238

wrong.” This sits at odds with the fact that many Americans engage in sexual intimacy outside of their marriage; some estimates claim as many as 50% of Americans have extramarital relationships over the course of their marriage. It seems we are taught to fear the taste of forbidden fruit, even as we succumb to its pleasures. Many psychologists believe the constraints of monogamy should be reworked into something more realistic. Eli Finkel, from the department of psychology at Northwestern University in Illinois, advocates a “nonmonogamous” relationship for those struggling with a lack of passion in their marriage. “It may be that your spouse is a terrific source of social support and intellectual stimulation but you haven’t had sex more than twice a year for the last five years and neither of you thinks that’s adequate,” he told The Telegraph. “So you could say, that’s one of the needs I am going to fulfill elsewhere.” Rather than cheat, Finkel recommends an open, consensual arrangement that allows both partners to satisfy their needs. Other partners seek thrills together. In the ‘60s, swinging became something that otherwise conventional couples indulged in as sexual attitudes became freer. These days, many swingers cite their lifestyle as a positive force in their marriage, adding variety to their sex lives, satiating their curiosity and

ensuring increased quality and quantity of sex. One study conducted in the United States in 2000 found that swinging couples were happier, on average, than monogamous couples. Surprisingly, almost 70% also claimed to have no difficulties with jealousy. But it seems that establishing clear boundaries is essential for non-monogamous relationships to thrive. Daniel Hilton, an editor based in Beirut, was in an open relationship for eight months before eventually deciding to become exclusive. He claims that his experience was riddled with “distrust and worry” as untruthfulness and one-upmanship became a cornerstone of the relationship. By the time they’d transitioned into monogamy, it was too late to salvage trust. “Never again,” he concludes with a rueful nod of his head. “I got fed up not knowing what she was up to.” The late British philosopher Bertrand Russell stated that “the psychology of adultery has been falsified by conventional morals, which assume, in monogamous countries, that attraction to one person cannot coexist with a serious affection for another.” In other words, humans have been socially programmed to believe that extramarital affairs suggest a lack of love in one’s own marriage. But as scientists examine human behavior with increasing insight, this truism rings false. It may be time to be adults about adultery. That apple could be exactly what your marriage needs.

When Adam and Eve resided in the Garden of Eden, they had only one rule by which to abide: God banned them from eating the apple. But, helped along by Satan disguised as a serpent, Eve gave in to the potent concoction of curiosity and desire and tasted the forbidden fruit. With one lustful lapse in judgment, human history was irreversibly altered. Both were cast from the garden, cloaked in a newfound sense of shame at their human bodies and despair at all they had lost.

A lifestyle _ romance

L.A. confidential By Stephanie d’Arc Taylor

The last time I went on a date in Los Angeles, George W. Bush was president and we were still rolling our eyes at people who had iPhones. Since then, online dating has become something you don’t need to keep secret for fear of becoming a social pariah. I’ve been on OkCupid in New York and used Tinder in Beirut. But how are people in L.A., that sun-kissed, sprawled-out, film-noir paradise that I call home, using the Internet to make human contact? “Tinder is not over,” says my college friend Randy, 32, over cocktails at The Brig in Venice. “In fact, I’ve been killing it on Tinder” – which, to him, means casually hooking up with women – “more than ever since I added a line about my new job,”

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editor of a hipper-than-thou electronic music website. He refuses to show me his chats, but his profile depicts a fade haircut and bemused expression despite glamorous locales, making him look like some kind of hipster king. I’m not surprised he’s raking in the swipe-rights. Ava, on the other hand, a 29-year-old actor, refuses to use Tinder to meet guys. “It’s dangerous,” she insists. “You could get to talking to a super hot guy, then find out he’s an actor or a D.J.,” an actual, apparently unacceptable, thing that happened to her last month at a rehearsal. “I need more information about a guy before agreeing to go out with him.” After years of resistance, she set up a profile on OkCupid a few months ago, the free matching site that absolutely everyone in New York was on when I was

Hooking up in the City of Angels

Brilliantshine (top) and Joan’s on Third (bottom) have been known to facilitate the L.A. romance

living there in 2011, but took it down after a month of bad first dates. “It’s exhausting,” she says, a little bitterly, scanning the room of a Santa Monica cocktail bar. The sheer size of the L.A. metropolitan area – and, perhaps, the reluctance of its residents to talk to strangers – contributes to networks of community based social scenes. Because of the distances combined with traffic, most people won’t travel very far to find love, much less maintain a regular sexual relationship. “People end up dating the people they spend time with,” says Ava, who grew up here, and has dated or hooked up with several members of her immediate acting community as well as friendship group. The lack of a street culture in L.A. makes it difficult to meet “outsiders,” she says. “You spend a lot of time alone in the car.” Jane, 30, struggled for years with what she calls the “insular” L.A. dating scene. She moved to Portland last month, abandoning LA’s model-actors for the flannel-clad prospects of the Pacific Northwest. According to her, the stereotypes are true: “It’s all about fame, money and beauty. The dudes I’ve hit it off with in Portland seem to be into me for my brain and heart, which is crazy and refreshing. That being said, I still have no man.”

schedule. If he thinks a date might, ahem, end with breakfast, he’ll rent out a nearby Airbnb apartment for the evening, rather than risk spoiling the mood with a long (and possibly drunk) drive. It may not be the pinnacle of romance, but in the Tinder age, perhaps a considerate – or at least wellorganized – sexual partner is something to be grateful for.

Randy, though, lives in the Valley, commutes to Venice and is regularly at shows on the Eastside. He uses his peripatetic lifestyle to his advantage, going on Tinder dates with women all over the city based on his

Brilliantshine Renee’s Courtyard closed last year to make way for this new, slightly sterilized but still kitschy bar and restaurant. Sidle up to the bar, order a craft whisky cocktail and reflect

L.A.’s best bars for flirting

on all the eyes (and maybe more) that have been made at this storied Santa Monica classic. 522 Wilshire Blvd., Santa Monica, tel. 310.451.0045, thebrilliantshine.com Joan’s on Third You’ll have to battle paparazzi for a parking spot at this celebrity hangout, but don’t hold that against it. It’s easy to strike up a conversation over the cheese counter, especially when the drinks start flowing at happy hour. Pro tip: The Korean-style scallion pancakes are worth the bad breath. Just order them to share. 8350 West 3rd Street, Los Angeles, tel. 323.655.2285, joansonthird.com 241 A

A lifestyle _ sojourn

A new vision of Venice By J. Michael Welton

A dreamy take on the Italian city

Christopher’s images, she says, recall the 1973 film Don’t Look Now, an occult thriller starring Julie Christie and Donald Sutherland that’s set in Venice. Based on a short story by Daphne du Maurier, it relies on an impressionistic cinematic style for intense emotional effects. Christopher’s work elicits a similar response from all those who’ve viewed the images he shot during a two-week visit. “I had no agenda but to get lost, which is what the city is all about,” he says. His images are mysterious, shimmering and in some cases, nearsinister. Many were shot at night, but others were taken while he stalked the city daily, shooting while sick with a fever. “It was like A 242

JoAnn Locktov may own nearly every book ever published about Venice. For years, she’s been lining her bookshelves with more than 60 volumes of the city’s fiction, non-fiction, history and photography. But when she discovered the ethereal photographs that Charles Christopher had taken there in 2011, she decided that it was time for one more. “It’s an unbelievable body of work,” says Locktov, who makes a pilgrimage to Venice every winter and is convinced that she lived there as a merchant 400 years ago. “He came up with photographs that I hadn’t ever seen before.” That’s when she set out to create Dream of Venice.

time stood still for me for a couple of weeks,” he says. Of the 2,000 images he brought back to California, he and Locktov selected 48 dreamy color and black and white shots to slip into Dream of Venice’s slim 96 pages. Each is accompanied by words from authors, both well known and less so, carefully chosen to resonate with the feel of the photograph. “The challenge was to find people who could write about Venice in a new way,” Locktov says. “Everything has already been said, so we had to find the people who could add to the knowledge and descriptions and understanding.” Among them are Woody Allen, Frances Mayes and the late Peggy Guggenheim, whose quote Locktov pursued diligently. “Her quote came to us from the director of Venice’s Peggy Guggenheim Collection,” Locktov says. “We went to his wife and she shared with him what we were doing, so the question became: ‘How could we not include Peggy?’ And he gave us that quotation.” Christopher’s photography techniques are a little less methodical. “I shot the things that seemed to show the silence and embody the mystery,” he says. “I could go down any dark alley I wanted to and have space for myself to explore, and not rush. In life, it seems like we’re always rushing.” That’s an unlikely scenario for anyone perusing this book. Visit bellafiguracommunications.com 243 A

A lifestyle _ fad

Pass the pickles

By Grace Banks

This year will see the fermented vegetable transform into a hipster-worthy bite. According to Sandor Ellix Katz, author of The Art of Fermentation, eating pickled food is the fastest and easiest way to reduce the level of salt, sugar and refined carbohydrates in your diet. “The process of fermentation pre-digests nutrients to break down toxic compounds into harmless forms, contribute additional nutrients and create probiotic bacteria,” says Katz. “It can also help to replenish microbial communities that enable us to effectively digest food, and may contribute to our immune function, brain function, liver function and more.” Katz published his discoveries after spending half of his 20s eating a macrobiotic diet, which emphasizes the digestive benefits of eating pickles and other live-culture foods. His book is now read by free spirits on communes, and in Hollywood. Fermentation is nothing new. In East Asia it’s

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been part of the diet for centuries, and your local supermarket is bursting at the seams with fermented superfoods like miso and vinegar. “A vast range of everyday staples and gourmet delicacies are products of fermentation,” says Katz, “including not only pickles but sauerkraut, yogurt, wine, beer and cider, and also bread, cheese, cured meats, chocolate, coffee and some teas.” It’s probable that fermented food is already in your diet, but it’s the live-culture ferments, like sauerkraut, kimchi – a Korean specialty – and even yogurt drinks like kefir, that have the strongest health benefits. Small servings are enough to activate good bacteria and with a bit of perseverance, you can even prepare your own ingredients. “Fermentation is easy and safe,” Katz explains. “I recommend starting with fermenting vegetables because there’s no need for special equipment. Just chop or grate veggies, salt to taste, squeeze or pound to bruise and break down cell walls and release juices, stuff in a jar and wait.” Jars of pickled beets, radishes and even celery on your kitchen shelves promise to transform the way your body processes food. Visit wildfermentation.com

The value of fermented food

The last thing most hardworking urbanites think will promote youthful skin, aid productivity and encourage a healthy lifestyle is that jar of gherkins lurking in a cupboard. But as any health junkie worth their salt will tell you, you pickle and you prosper.

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A lifestyle _ city

Japanese wonderland

Winter romance in snowcovered Sapporo

Every winter, the northern city of Sapporo is cloaked in white as its women scurry between chocolate boutiques looking for Valentine’s treats. In Japan, only women buy their lovers gifts on Valentine’s Day: men repay the favor one month later on what’s known as White Day (thought to be named after white chocolate or marshmallows). The charming result of extending this celebration is that the spirit of romance blooms for longer, making pretty much any winter moment the perfect time to take your sweetheart on a picturesque Sapporo escape. Sapporo is well known by the Japanese as the gateway to the wilds of the snowy north. From here, skiing, ice fishing and snow trekking are all less than an hour’s journey. But Sapporo has much more to offer than just a pit stop for the winter sportsman.

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First: the seafood. Sapporo is located on the northern Japanese island of Hokkaido, a landmass surrounded by icy, nutrient-rich seas and the delicious shellfish and crab that live in them. The Tarabagani King Crab and Kegani Horsehair Crab are both scrumptious local specialties, but in the winter, nothing beats the bright orange Zuwaigani – otherwise know as the majestic Snow Crab.

Hokkaido Brewery. However, the brewery is a fair way out of town, so for those preferring a stroll through the snow rather than a 30-minute train journey, the Sapporo Beer Museum makes for an easier visit. This is the site of the old brewery and although you won’t get to see beer being bottled, you can read about its history and enjoy free samples aplenty at this cozy inner-city hideout.

Eating crab can be tough work and after all that shell cracking, a glass of famous Sapporo beer is essential. Japan’s leading alcoholic export was first brewed with the help of a German-trained lager brewer in 1876 and nowadays it not only accompanies all the favorite Japanese dishes, but many chefs use it as an essential ingredient in their tempura. The best place to sample this liquid gold is on a tour of Sapporo’s

Shaking off that post-beer drowsiness can be accelerated with a wander through the magnificent Odori Park, a 1.5 kilometer stretch of open space that splits the metropolis in two. This is the cultural heart of the city and the site of many events and festivals throughout the year. Of course, the best view of the park comes from above. If you walk west to east, you can end your tour with

By Rich Thornton

a trip up the 90-meter-high Sapporo TV Tower and marvel at buildings, mountains and trees connected under their blanket of shimmering white. When it’s time to say goodbye to the snow (and you’ve showered your beloved with enough Valentine’s chocolates to last the year), you can’t leave Sapporo without picking up some worldfamous Shiroi Koibito white sweetheart biscuits for family back home. This delicacy is such a popular gift that you can even get your photo printed on the packaging – just make sure you brush the snow off your hair first.

Kani-honke Local crab at its finest, private dining rooms and Japanese kaiseki ryori cooking etiquette as standard. N3W2 Chuo-ku, Sapporo

Marni

Pucci

Sapporo Snow Festival For one week a year, Sapporo’s central Odori Park is transformed into a sculpture garden of snow statues. Two million visitors wonder at over 400 frozen creations, and sculpting teams travel from all over the world to compete in The International Snow Sculpture Contest. February 5-11 at Odori Park, Tsudome and Susukino

Mikuni Sapporo Haute cuisine from France seasoned with flavors from northern Japan – and the best snow crab in the city. N5W2 Chuo-ku, 9th Floor JR Tower at Sapporo Station

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A last _ word

Candy crush

Cartier Juste un Clou bracelet, Tank Anglaise watch and Amulette de Cartier necklace

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ÂŠ MĂŠlanie Dagher

A diamond-coated treat

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12/01/15 16:32