Bal Harbour Magazine - Fall 2015 by Bal Harbour Shops

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IWC PORTOFINO. TIME TO REMEMBER.

IWC Portofino Automatic Moonphase 37. Ref. 459001: As early as the 1950s and 60s, the stars of the silver screen fell in love with a small town on the Italian Riviera that was soon to become world-famous: Por tofino. The picturesque fishing village’s incomparable charm and the stories that grew up around it have ensured that it retains the magic and cachet that attract the rich and beautiful to the dolce vita: the sweet life. Every Portofino watch recaptures the glamour of both past and present. For the first time ever, this attitude to life is radiated by a Portofino collection from IWC with a slightly smaller, 37-millimetre case, whose grace and elegance are reflected in every detail. In the polished

surfaces of the case and the sunburst pattern on the dials, for instance, which not only underscore the watch’s luxurious appearance but are also an expression of outstanding craftsmanship. Its precision is reaffirmed by a delicate moon phase display. In much the same vein, the selected gemstones that ornament the bezels and dials are reminiscent of the star-studded sky on a balmy Italian summer evening. With its consummate beauty, this Portofino encapsulates the timeless, unhurried charm of southern Europe and could almost have been made”especially for life’s most precious moments, for those times we look back on with infinite fondness.

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Naomi Campbell, Christy Turlington and Linda Evangelista, photographed by Roxanne Lowit, 1990

STRONG SILHOUETTE Fashion darling Rosie Assoulin turns up the volume and everyone is listening. BAL HARBOUR SHOPS GETS ILLUSTRATED For the last decade, Bal Harbour magazine has celebrated the art of fashion illustration. Here, four artists—Ruben Toledo, Blair Breitenstein, Jean-Philippe Delhomme and Megan Hess—animate Bal Harbour Shops on the occasion of its 50th anniversary. AN EYE FOR THE EXOTIC Precious they may be, but these fine jewels are meant to be worn. WELL WELL WELL Three of the country’s most sought-after wellness gurus share their philosophies on healthy living. IN DEFENSE OF CASUAL Tomas Maier brings his namesake label—and a fresh approach to wearable, touchable feel-good fashion—to Bal Harbour. FRENCH REVOLUTION Jean-Louis Deniot stakes his claim as France’s next great interior designer. FACES OF FASHION Though ours is an industry driven by change, there are images etched in our collective memory that help define a decade. We’ve asked some of the pillars of the fashion industry to select the models who best captured “the moment,” from the Swinging Sixties to InstaFashion. LACE NOIR Hilary Rhoda channels Fall’s romantic mood in the season’s most delicate dresses. THE NEW CLASSIC Black and white has never looked so fresh. FOR THE LOVE OF THE ROAD Car collectors are a rare breed. Here, we speak to three of the country’s foremost collectors about what drives their passion—from performance to nostalgia.

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PHOTO COURTESY OF TRUNK ARCHIVE

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Model Nina Agdal in a Gucci wool coat; Prada dress; Charlotte Olympia Winky shoes; Wendy Yue emerald ring and rose earrings with champagne diamonds, available at Neiman Marcus.

WHEN A WHISPER IS LOUDER THAN A ROAR Jessica Michault enters the fiercely guarded Goyard universe to see what keeps this venerable brand on the most coveted list. PLAYERS CLUB This season, menswear takes a cue from the field, embracing sport and style. WILD CHILD This Fall is about making big moves in bold prints. Model Nina Agdal shows us how. MAKING CASHMERE COOL Textile rogue Greg Chait is breaking all of the rules with the Elder Statesman—and is earning a cult following every step of the way. SHELF LIFE When a library full of paperbacks just won’t do, collectors of the printed page turn to curators for a bespoke book experience. TOP SHELF Stock up on these stylish tomes. FRENCH TWIST Carlyne Cerf de Dudzeele, celebrated French stylist—and champion of the high/low mix—sits down with Lynn Yaeger to discuss noisy jewelry, thinking with your stomach and Miley Cyrus.

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Hilary Rhoda photographed by Russell James and styled by Sarah Gore Reeves exclusively for Bal Harbour wearing a Salvatore Ferragamo macramé lace skirt and top; de Grisogono Onde ring. Hair by Felix Fischer and makeup by Brigitte Reiss-Andersen.

PHOTO BY DEAN ISIDRO

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Welcome Note The world of luxury is rich with heritage and artistry. If that idea is unique even today, it was revolutionary in 1965 when Stanley Whitman and his family opened Bal Harbour Shops. With its signature palm grove and serene Koi ponds, America's first all-luxury shopping center was really a world unto itself, rivaled only by the quality and character of the product on display. It is with the same vision of all-encompassing luxury that the Whitmans decided to launch a magazine for their tenants more than a decade ago. This publication has created its own legacy, in turn. Just as luxury houses collaborate with masters of their trade, our collaborators include some of today’s most acclaimed writers like Kate Betts, Lynn Yaeger and Degen Pener and sought-after photographers ranging from Ruven Afanador to Michael Thompson. In this issue, Yaeger interviews legendary stylist Carlyne Cerf de Dudzeele, and we profile designers Greg Chait and Rosie Assoulin, who show that fashion still has conventions to break, and photographer Russell James shoots supermodel Hilary Rhoda for our cover story, styled by Fashion Director Sarah Gore Reeves, in a gorgeous garden just outside of New York City. But, perhaps most exciting, for Bal Harbour’s golden anniversary, we commissioned four renowned fashion illustrators—Megan Hess, Jean-Philippe Delhomme, Ruben Toledo and Blair Breitenstein—to create an original design inspired by the shops, beginning on page 83. Bal Harbour Shops’ enduring allure has continued to attract the most coveted names in fashion—most recently the luxury house Goyard, which will open a new boutique this fall. Writer Jessica Michault—who is balharbourshops.com’s newly appointed fashion news editor—gets a rare peek behind the scenes of the house, beginning on page 198. Beyond the printed page, Balharbourshops.com continues the dialogue with original content spanning fashion, culture and lifestyle, embodying the ethos that makes Bal Harbour Shops an unparalleled destination for luxury and style.

Editor-in-Chief Sarah Harrelson

Enjoy!

Publisher/Editor-in-Chief Sarah G. Harrelson Illustrations, such as those above by David Downton, Tanya Ling, Gladys Perint Palmer, Konstantin Kakanias and Megan Hess, have graced the pages of Bal Harbour Magazine since its inception.

Bal Harbour Magazine Publisher/Creative Director Carlos A. Suarez Publisher/Editor-in-Chief Sarah G. Harrelson Executive Editor Tali Jaffe Associate Art Director Adriana Sandoval Fashion Director Sarah Gore Reeves Market Editor Shannon Adducci Assistant Editor Lauren Pellerano Gomez Contributing Writers Kate Betts, Jackie Cooperman, Tanya Dukes, Mark Ellwood, Rachel Felder, Emily Holt, William Kissel, Stella Lee, Ted Loos, Jessica Michault, Degen Pener, Bee Shapiro, Alyssa Shelasky, Eugenia Santiesteban Soto, Samantha Tse, Lynn Yaeger, Janelle Zara Contributing Photographers Nico Bustos, Anthony Cotsifas, Boo George, Fumie Hoppe, Dean Isidro, Russell James, James Macari, Richard Phibbs, Mikael Schulz Distribution and Marketing Andrew Sherman Editorial Coordinator Dana Parker Pre-Press/Print Production Pete Jacaty Digital Imaging Specialist Matt Stevens Interns Alejandra Alvarez, Caroline Clements, Devon Rivkind Accountant Judith Cabrera Chief Executive Officer Mike Batt 38 BAL HARBOUR

BAL HARBOUR MAGAZINE IS PUBLISHED BY WHITEHAUS MEDIA GROUP WHITEHAUSMEDIAGROUP.COM 1680 MICHIGAN AVENUE, SUITE 1013 MIAMI BEACH, FLORIDA 33139 786.342.7656 TO SUBSCRIBE, BALHARBOURSHOPS.COM

Contributors Our contributors sound off on photographers, style advice and their favorite moment in fashion.

and consultant based in New York City and Los Angeles. Growing up in a family that owns a 100-year-old auction house, DuMouchelle, in Detroit, Adducci was exposed to rare and important pieces of jewelry, objects and art at a young age. After graduating from the Medill School of Journalism at Northwestern University, she spent seven years at Departures, most recently as senior style editor, focusing on fine jewelry, watches and accessories. Adducci contributes to Elle, The Editorialist, 1stdibs and is the fashion editor at Billboard magazine. She also consults for fine jewelry brands as well as for her family’s estate jewelry auction house. This issue, Adducci edited the Trends pages and served as jewelry market editor for “An Eye for the Exotic.” “My grandmother taught me the power of shoes. No matter what the occasion was—even if it was taking her four sons to baseball games—her shoes were always impeccable. And since I am the same exact size that she was, wearing her old Ferragamo and Gucci loafers reminds me of that.”

Kate Betts is an award winning magazine editor and the author of

The New York Times bestseller, “My Paris Dream: An Education in Style, Slang, and Seduction in the Great City in the Seine.” Her memoir chronicles her years in Paris where she worked as a reporter and the associate Bureau Chief for Women’s Wear Daily. In 1999, she became editor in chief of Harper’s Bazaar—the youngest ever editor in chief of a national fashion magazine. She has worked for Time magazine and has also written for The New York Times, The Daily Beast, Travel+Leisure, Glamour, Elle, New York and The Wall Street Journal. She lives in New York City with her husband and two children. In the story “In Defense of Casual,” Betts speaks with Tomas Maier about his new Bal Harbour boutique. “My favorite decade in fashion is the 1990s; it’s when I discovered my style and when I grew up in the fashion business with designers like Helmut Lang, Martin Margiela, Christian Louboutin and so many others.” 40 BAL HARBOUR

Michael Reynolds is a New York-based creative director. Reynolds joined the editorial staff of Vogue in 1990 where he spent six years before joining House & Garden as a senior style editor. In the mid-’90s, Reynolds helped to conceive and launch Wallpaper where he continues as its American editor. He’s also a contributing editor to Architectural Digest and Cultured. “My favorite decade in fashion is the 1960s. It was ground breaking, revolutionary, expansive and inclusive. Plus it was the heyday of Diana Vreeland, Richard Avedon, Rudi Gernreich, Vidal Sassoon, Penelope Tree, Bob Fosse—and LSD. It paved the way for the ‘70s in every conceivable way.”

PHOTO BY NOA GRIFFEL (BETTS)

Shannon Adducci is a writer, editor, stylist and jewelry expert

Lynn Yaeger is a fashion writer who lives in New York City and has an imaginary apartment in Paris, where she spends all, or at least most, of her time visiting flea markets. She writes frequently for Vogue, T: The New York Times Style Magazine, Travel + Leisure and the Sundance Channel’s Full Frontal Fashion website. In “French Twist,” Yaeger has a candid conversation with legendary stylist Carlyne Cerf de Dudzeele and shares why Twiggy made such a lasting impression on her.

Sabrina Wirth has been working within the intersection of art, design and

“My favorite decade is the 1920s. Who doesn't look good in a beaded flapper dress and a velvet cocoon coat?”

“I love the fashion of the ‘20s because everything had more movement and was more romantic. There was more attention to detail and women’s dresses were so feminine.”

Jessica Michault is the

editor-in-chief of fashion industry website NowFashion.com. For more than 15 years, she has covered fashion, from Hollywood red carpets to haute-couture collections. Michault’s work has appeared in The New York Times, The International Herald Tribune and Vogue Italia, among others. Michault recently became balharbourshops.com’s fashion news editor. In this issue, she reports from behind the curtain of the notoriously private house of Goyard.

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architecture for the past 10 years as an art consultant, curator, writer and graphic designer. This issue, Wirth speaks with photographer Kelly Klein about her new book and her self-taught career behind the lens.

A former hedge-fund attorney, Bee Shapiro is now a contributing columnist to The New York Times Fashion & Style section. Her work has also been featured in Vanity Fair, W, Harper’s Bazaar and Fast Company. Shapiro meets fashion force Rosie Assoulin to discuss her eponymous label and its cult following. “My favorite decade in fashion is the ‘90s. I’m from Seattle and came of age when Nirvana peaked. I will forever be a fan of moody eyeliner, plaid and tattered jeans.”

Contributors

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Bal Harbour magazine’s fashion director Sarah Gore Reeves was born and raised in Manhattan. She began her career as a model for Calvin Klein and Ralph Lauren, but quickly learned that her creativity would be best put to use as a stylist. She has collaborated with photographers such as Patrick Demarchelier, Mark Seliger, Ruven Afanador and Norman Jean Roy and has worked with celebrities and top models, including Sarah Jessica Parker, Maggie Gyllenhaal, Karolína Kurková, Gisele Bündchen, Cindy Crawford, Carrie Underwood and Heidi Klum. She is also the fashion director of Vogue México/Latin America.

Contributors

“My favorite decade is now. I like modern, easy things—especially with great sneakers! Masculine suiting and a Hedi Slimane Saint Laurent jacket. Everything fits in a carry-on suitcase.”

Emily Holt is a journalist specializing in

“Honestly, right now is my favorite moment in fashion! Not only because there are so many young and talented designers, but also because of the developments in tech. I’m really excited to see how the fashion and tech communities start to work together more.”

Degen Pener is a contributing editor at The Hollywood Reporter and writes for Veranda, Interior Design, The New York Times and Cultured magazine, where he is the newly appointed west coast editor. Pener interviews Greg Chait of The Elder Statesman to find out how the designer made cashmere cool again. “Richard Avedon is my favorite fashion photographer. I had the honor of interviewing him, which was fascinating. He bemoaned the state of fashion photography in the ‘90s, which he described as having ‘a cold, murderous quality.’” 44 BAL HARBOUR

PHOTO BY JOE SCHILDHORN (HOLT)

fashion, lifestyle and culture. Most recently she was Fashion News Editor at Vogue where she covered the ready-to-wear collections in New York, London, Milan and Paris. Prior to joining Vogue, she edited the society, celebrity and culture pages of Women’s Wear Daily and W. Her work appears in Vogue, The Wall Street Journal and WSJ., Elle, Yahoo, Glamour, Bon Appétit, Cherry Bombe and C magazine, among others. She currently lives in San Francisco. For her first Bal Harbour assignment, Holt sat down with jewelry designer Eugenie Niarchos to see what inspires her otherworldly designs.

Anthony Cotsifas, a native New Yorker, studied at Pratt Institute and went on to become a professional photographer in 1991. Cotsifas’ love for elegant design, clean lines, and striking architecture has been the inspiration for his images. He has built his career on still life and architecture, while recently introducing travel to his repertoire. His editorial work can be seen in W, Vogue, V, Big, Exit, T: The New York Times Style Magazine, Wallpaper and Elle Decor. In this issue, Cotsifas shot “An Eye for the Exotic,” turning his eye to fine jewelry and collectible antiques. “Hiro and Horst are my favorite fashion photographers. They shot everything: people, interiors, fashion and still life. True groundbreakers.”

Saigon bag with strap, available in 11 colors

GOYARD MIAMI Bal Harbour Shops, 9700 Collins Avenue, Bal Harbour, FL 33154 / +1 (305) 894-9235 / miami@goyard.com / www.goyard.com

A MATTER OF STYLE

Fashion and culture news from London to Bal Harbour

PAGE TURNER

PHOTO BY DANIEL MELAMUD

Are books the season’s must-have accessory? Judging

Just three blocks north of Madison Square Park, the 5,000-square-foot space occupies the ground floor of the historic St. James building, which dates back to the early 19th century.

by Rizzoli’s new flagship store in New York’s sought-after NoMad neighborhood, we’d say the publisher’s latest volumes are safe investment pieces. Just three blocks north of Madison Square Park, the 5,000square-foot space occupies the ground floor of the historic St. James building, which dates back to the early 19th century. Ike Kligerman Barkley Architects led the redesign of the bookstore’s interiors, which captures the classic architectural experience for which the former location was celebrated while integrating the energy of its new location. Many of the classic fixtures from the former 57th Street flagship have been preserved and reintroduced in the new space, including its cherry wood bookcases and grand brass and iron chandeliers. Fornasetti designed murals that run from above the bookcases to the ceiling in all three grand rooms, which feature surreal motifs. “Our new premises have exceeded our expectations,” says Marco Ausenda, president and CEO of Rizzoli New York. “To me, the store is our heritage translated in new ways in a neighborhood that’s edgy and exciting.” At the opening night party, 600 guests celebrated, including fashion powerhouses Diane von Furstenberg, Fern Mallis and André Leon Talley, literary forces, like author Emma Straub, food critic Florence Fabricant and Penguin Random House President Jeff Abraham, as well as cultural figures, including Architecture and Design Curator for the Museum of Modern Art Barry Bergdoll and interior designers Ricky Clifton, Lizzie Bailey and Steven Gambrel. Publisher and Vice President of Rizzoli New York Charles Miers tapped Talley to dress the stores windows. The main window was inspired by Talley’s home library and the out-ofprint book, “Vogue’s Book of Houses, Gardens, People.” Mannequins were dressed in Vivienne Westwood frocks with their heads wrapped in silk Gucci squares and Westwood fabric. Already, Rizzoli has attracted a steady stream of admirers, among them contemporary art dealer Edward Tyler Nahem. “We’re living in a high-tech age with the printed page practically gone,” says Nahem. “So, now in its new venue, Rizzoli remains the nexus of art, design, architecture, fashion and of course literature, where the very hands-on process of selecting books is in itself a pleasurable experience.” With its bookstore-cum-salon approach, expect a full slate of author readings, panel discussions and concerts, along with exhibitions. And in keeping with founder Angelo Rizzoli’s significant role in the film industry (he produced La Dolce Vita and 8 ½, among others), screenings, too are slated. —Brook S. Mason BAL HARBOUR 47

SINCE 2002, BOTTEGA VENETA’S CREATIVE DIRECTOR, TOMAS MAIER, has tapped leading contemporary artists and photographers to collaborate on his print campaigns. This month, Rizzoli releases “Bottega Veneta: Art of Collaboration,” a 650-page tome documenting partnerships with Peter Lindbergh, Steven Meisel, Robert Longo, Nan Goldin, Nick Knight and PhilipLorca diCorcia, among others. Here, Maier talks to us about the process of collaboration. “As the creative director, I give the artist the freedom to interpret the collection in their own way, and bring their own signature to the campaign. There would be no point in asking them to collaborate if we were asking them to compromise their vision. The artist is always someone who I admire greatly, and I take great pleasure in discussing the collection with them, and seeing what it provokes in them. Looking through the book, it is clear to see the individual hand of those who have worked on the campaign and the different narratives that they have brought to it… My expectations are always high for the series, and they are most always exceeded.” Bottega Veneta’s Summer 2013 campaign, shot by Peter Lindbergh, from “Art of Collaboration.”

Fashion Project curator Judith Clark

FIFTY AND FAB! Like two heads, two exhibits are better than one. Such is the case with Fashion Project, Bal Harbour Shops' cultural space, dual fashion history exhibitions aptly titled “FP03: The Past” (Oct. 8 to Nov. 5, 2015) and “FP04: The Anniversary” (Nov. 12, 2015 to Jan. 20, 2016), which celebrates the retailer's 50th anniversary. Organized by renowned London curator Judith Clark, the installations kick off with a nostalgic window into the decades of 1915 to 1965 (“The Past,” naturally), featuring work by seminal designers like Mary Quant and André Courréges. Picking up from The Past's timeline, “The Anniversary” is sure to thrill modern fashion enthusiasts. The exhibit focuses on the past 50 years in fashion through the lens of Bal Harbour Shops. If divine dresses aren't enough, the celebration is capping off the exhibitions with a four-day film festival exploring the intimate relationship between fashion and cinema—talk about picture perfect. For more information, visit balharbourshops.com —Bee Shapiro 48 BAL HARBOUR

Abstraction White Rose, 1927

Tate Modern presents a major retrospective of American Modernist painter Georgia O’Keeffe, a century after her New York debut. The exhibition is the first solo institutional exhibition of O’Keeffe’s work in the United Kingdom in a generation. O’Keeffe excelled as a landscape artist. The exhibition, on view through October 30, will relate her practice back through the American tradition of landscape painting, as well as forward to anticipate the gendered landscapes and statements of feminist artists of later generations. The exhibition will also consider her flower works in the context of her overall production as multi-layered images, relating them to her engagement with abstraction and issues of form and composition. —B.S.

PHOTO BY PETER LINDBERGH; CHRISTOFLE; © GEORGIA O’KEEFFE MUSEUM

Artful Eye

Hank Willis Thomas’ The Truth Is…, 2015

IN THE AGE OF SNAPCHAT AND INSTAGRAM, words can seem as temporary as stick-on nails. What's a motto one day is as easily forgotten the next. So what happens when conversation is captured and memorialized as sculpture? Such are the notions and boundaries that drive Brooklyn-based conceptual artist Hank Willis Thomas' latest exhibition, which features 22 speech bubbles scattered throughout Brooklyn's MetroTech Commons (through June 3, 2016). Each piece espouses “truths” in multiple languages; together they serve as a culmination of Thomas' decade-long exploration of media, identity and pop culture. —B.S.

The holiday season is rife with classic scents—gingerbread, fresh pine and mulled spices, for starters. Fragrance lovers will delight in DIPTYQUE’s new candles to light up the holiday season— which will soon be available at Bal Harbour when its new store opens in December. The beloved Parisian fragrance and lifestyle house’s limited edition 2015 winter home fragrance collection is dedicated to the olfactory attributes of trees. The perfume house has invited Julien Colombier, a painter dedicated to mysterious forests and enchanted jungles, to help create the collection. The limited collection is reminiscent of the holiday season and is available in three scents: Sapin, Liquidambar and Oliban. —B.S.

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for the love of silver Venerable fine silver house Christofle reopens in October with a new store design conceived by the brand’s in-house Parisian team. Among the celebrated collections, including the new Silver Kingdom by Martyn Lawrence Bullard and Jardin d’Eden—a favorite of Christofle’s Executive Vice President, Ginny Gerard—look for the brand new MOOD, a flatware concept that is both functional and decorative, thanks to the shimmering, egg-shaped capsule that the flatware is stored in.

With the fall cultural calendar in full swing, it’s the perfect time to get to know jewelry line Arme De L’Amour. Founded by Ivana Berendika, a Serbian-born former model (at left), the line of sophisticated, geometric jewelry pieces has earned a cultish following ever since debuting on Net-aPorter.com. Beginning this Fall, her architectural pieces—which feature touches of fantastical indulgence—are available at INTERMIX. Head to the Bal Harbour Shops boutique for plenty of gilded holiday drama (think unforgettable bold cuffs with gold-link fringe)—now in store. —B.S.

COURTESY OF JACK SHAINMAN GALLERY, PHOTO BY LIZ LIGON (WILLIS THOMAS); IMAGE COURTESY OF DIPTYQUE

Christofle’s boutique at Bal Harbour Shops

IT GIRL JEANNE DAMAS The fashion blogger, model and actress has been tapped with the ultimate French rite of passage: Roger Vivier brand ambassador. BY JESSICA MICHAULT

The French have long been fans of It Girls. From Josephine Baker through Brigitte Bardot and Jane Birkin to Vanessa Paradis and Julia Restoin Roitfeld, It Girls have become part of the fabric of French culture. There is even a second-generation of these je ne sais quoi-imbued women, such as Birkin’s daughters Charlotte Gainsbourg and Lou Doillon, and more recently Paradis’ first born, Lily Rose Depp. In today’s hyper-digital world, social media has become the hot bed location to discover new It Girls, and the French are no exception. Case in point: Paris-based fashion blogger, model and actress Jeanne Damas. Inès de la Fressange, brand ambassador of Roger Vivier, tapped the chestnut haired, doe-eyed and red-lipped beauty to be the face of the house’s Fall/Winter 2015 collection. And in keeping with her Parisian image, the campaign was shot in the City of Light. Damas even donned a beret and for one shot paired a classically French Mariner stripped sweater with her silver Roger Vivier heels while posing on the bank of the River Seine. It doesn’t get much more French than that. “Jeanne is a modern and typically Parisian young woman. In jeans she’s sophisticated, and in a dress, she’s cool,” says de la Fressange. “She represents an attitude that’s undeniably what young women of her generation like about her.” The 23-year-old Damas is a true Parisian. “Living in Paris has unquestionably had an effect on my sense of style,” she says. “But also my mother, who is very beautiful and loves dressing well, but is not a fashion addict. That really had a strong influence on how I dress,” she adds. How the partnership between Roger Vivier and Damas came about sounds like the perfect “meet cute” movie setup. At a gala fashion charity event in January, Damas won a Roger Vivier Miss Viv bag; the next day she sent the house a Thank You note. This led to a face-to-face meeting at a press presentation for the house and the rest, as they say, is history. Surprisingly, Damas, who counts more than 100,000 followers on Instagram and a strong following on her Tumblr blog, doesn’t see herself as a next-gen photographer in the making. “I 52 BAL HARBOUR

really only take photos for my own pleasure—my trips, my friends, the moments of life. Years ago I had thought about being a fulltime photographer, but it has remained a hobby,” she says. Instead, Damas’ future is full of promise. “When I signed with the talent agency IMG, that’s when it all became more professional. That’s when I really learned about branding and developing a public image. Not saying yes to everything and really building a career.” That focus has led to a supporting role in the French film, Le Gène de Doute, directed by Agathe Teyssier and shot this year (at press time there was no release date). Fashion labels invite her to design capsule collections—Damas recently collaborated with catalog firm La Redoute for its Spring/Summer 2015 collection—and in early 2016, Damas will launch her own clothing line. Considering her undeniable innate sense of fashion and the fact she has a cadre of designer friends, including Simon Porte Jacquemus and lingerie designer Yasmine Eslami, her line will undoubtedly do well. Damas seems to be taking the It Girl stardom in stride. Completely unruffled—except for her perfectly disheveled tresses—she didn’t even let a fire that destroyed her Paris apartment last year throw her off track. “C’est pas grave… those things are part of life,” said Damas in that nonchalant way that only the French can pull off.

Mind Your Manners Never underestimate the power of a Thank You note. A little gesture of appreciation can go a long way. Just ask Jeanne Damas, who after sending one to the team at Roger Vivier, found herself posing as the new face of the Fall/Winter 2015 campaign.

B A L H A R B O U R S H O P S M I C H A E L KO R S . C O M

PHOTOGRAPHICALLY IN-KLEIN-ED In her new book, Kelly Klein shares 30 years of captured moments.

people what I see through the camera, and inspire Considering all the visually seductive other people with the way I see things through the photographs Kelly Klein has captured over the years, lens,” says Klein. Disarming and genuine like her it’s surprising to learn she’s never had any formal photographs, Klein says that every photograph is training. However, it may just be that lack of technical a product of uncertain factors coming together at prowess that has aided her in creating some of her just the right moment. The weather, for example, most compelling images. might not cooperate on the day of a photo shoot, In October, the fashion and style photographer will or a location or model might not work out. “You release “Photographs by Kelly Klein,” her new book with have to be flexible, make the best of it and keep Rizzoli. The book is a taking photos.” retrospective of her work With her fashion work, when the elements do over the past 30 years, and line up, Klein says “there’s nothing like taking a includes photographs photo of Kate Moss or Christy spanning her career to Turlington; no matter what they do, date, ranging from privately it’s an amazing picture.” As for her captured moments to candid photos, sometimes the portraiture and editorial images end up looking better than work commissioned for Klein had imagined. Perhaps the magazines, including most talked-about image in the book Vogue and Vanity Fair. is a photo she shot on a sailing trip in “All photographs are 1981. Klein calls it “Four Moguls fragments of the past. They Sleeping,” an intimate and personal preserve what happened in Clockwise from top: Tony Melillo on shot of Barry Diller, Calvin Klein, a moment, somewhere and Namos Beach in David Geffen and Sandy Gallin Greece, 2014; Tasha sometime,” says Klein. Tilberg in East sleeping. Her other favorite images “The photographs Hampton, 1996; Arina are a 1996 Polaroid of Carolyn Glavatska in 2006; collected in this book are Savannah Hoge in Bessette-Kennedy, the snapshots of traces of my life over the Wellington, Florida, her son Lukas, the 1995 image of 2008; Kirsten Owen in past 30 years—what I’ve New York City, 1996 model Carolyn Murphy covered in seen and experienced, mud in Santa Fe, New Mexico and places I’ve lived and visited, the 2000 photograph of fashion model people I’ve worked with, Georgina Grenville crouching down in her learned from and loved.” swimsuit among the trees in Palm Beach. Edited by Klein, the Klein again collaborated with Sam book is a catalog of a rich Shahid, former Calvin Klein art director and and varied canon of work CEO of Sam Shahid & Co. in New York— that juxtaposes her she has worked with Shahid on six of her contrasting styles to reveal seven prior book projects—in editing the a consistent sensibility—an images for the book. “It’s an account of my effortlessness that reflects a natural translation of influences, of who and what I admire. Many beauty in images. The photographs reveal a very inspiring people have enriched my human and approachable perspective into the personal and professional lives,” Klein says. glamorous lives often depicted from an The process took three years as the outsider’s point of view. These are also the moments—captured usually with a simple point-and-shoot camera—that pair reviewed thousands of negatives. “It was very, very challenging,” have inspired many of the images in the book. “I love being able to show says Klein. “It’s a personal journey of my life through pictures.”

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BY SABRINA WIRTH

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Joseph Dirand

Beyond Brick & Mortar

For these three architects, building a boutique is about immersing clients in fantasy. BY JANELLE ZARA

For Joseph Dirand, fashion’s premier architect, it began with Balmain. “It was my first big project,” he recalls over the phone from his Paris office. In 2009, he conceived a scenography based on the venerated fashion house’s French heritage. He evoked the splendor and history of an 18th century hotel with traditional parquet floors, ornate molding and stone tiles sourced from French châteaus, while spiking the design with ultra-modern flourishes: the contrasting reflective sheen of monolithic silver sculptures intermingled with French furniture from the mid-century and the Golden Age of Pierre Balmain. “It was like creating a movie about the brand, not only what it is today, but what it was before,” says Dirand. This radical approach that immersed clients in both the past and present ignited the interest of the fashion world. More highprofile commissions soon followed: flagship boutiques for Chloé, Rick Owens, Emilio Pucci, Balenciaga and more. This year, Dirand’s career seems to have come full circle with the opening of the Balmain flagship in London, where he traded a few of the brand’s French charms in favor of Queen Anne Revival—ivory and stone—effectively translating them to more site-specific English sensibilities.

3 Historic role model: Oscar Niemeyer. (2) • Most cherished design possession in your home: My wooden box from Le Corbusier, an archaeological piece from the 1950s. • Where you retreat for a moment of quiet: Sounds crazy, but Ibiza. (4) • A moment that inspired you to become an architect and designer: A visit to Chapelle Notre Dame du Haut sin Ronchamp with my father when I was 6. (1) • Most moving exhibition you’ve seen lately: “INSIDE” at the Palais de Tokyo in Paris. (3)

Balmain’s Paris flagship, designed by Dirand. 56 BAL HARBOUR

PAUL KOZLOWSKI © ADAGP (NOTRE DAME); PORTRAIT AND BALMAIN INTERIOR © ADRIEN DIRAND; PALAIS DE TOKYO

bal harbour

t o m a s m a i e r. c o m 3 0 5 . 3 5 1 . 9 5 6 0

Design role models (Chris): Miguel Fisac, Dieter Rams and Buckminster Fuller (1) • Most cherished design possession (Dominic): MacBook Air (3) • Favorite place to retreat (Chris): a bike ride along River Road in the Palisades Interstate Park in Alpine, New Jersey (2). • What inspired you to become an architect (Chris)? Growing up in our father’s house. • The most moving exhibition space (Dominic): the Judd Foundation in New York (4).

Buckminster Fuller

Leong & Leong

Architecture “is in the family,” says Dominic Leong of Leong Leong, the bi-coastal design office behind the American Pavilion of the 2014 Venice Architecture Biennale. He and his brother Christopher grew up in Napa Valley, with an architect father—an experience that led them each to architecture careers: Christopher at SHoP Architects and Dominic at Bernard Tschumi and later his own ParaProject. It wasn’t long before they joined forces in 2009, embarking on their first project together as Leong Leong: the 3.1 Phillip Lim flagship in Seoul. “The way that Phillip approaches clothes has a lot to do with texture and material,” says Chris, a sentiment the firm captured by dividing the retail space into intimate spaces that frame the clothing in tactile materials, creating a narrative of atmospheres for unexpected and curious encounters: custom wallpaper by artist Wook Kim inspired by ancient Korean ceramics; different ambiences of light and mirrored surfaces; leather herringbone tiles; brass stars; and an oak floor that gradually transitions through a gradient of grey tones. “I think primarily retail is about experience,” says Chris, noting the new competition old-fashioned brickand-mortar stores have with online shopping. The boutique’s exterior of pillow-like white concrete tiles, a unique tactile experience for clients before they even step inside, does away with the antiquated notion of brick-andmortar altogether.

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3 4

PORTRAIT BY NAHO KUBOTA; PHOTO BY JOSHUA WHITE, IMAGE JUDD FOUNDATION

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Rafael de Cárdenas Rafael de Cárdenas’ design prowess runs the full spectrum of aesthetics. The Manhattan-based architect (who has a second outpost in London) gave Baccarat’s Madison Avenue flagship store hand-cut, wooden sawtooth walls as a subtle nod to the high-precision diamond cutting of its glass. A world away in Cape Town, de Cárdenas went with an interior of neon-hued gradients and geometric shapes for the South African menswear line Unknown Union. “Working with an undefined brand driven by youth culture, we were able to tell a story that didn’t exist yet,” says de Cárdenas. “There’s storytelling as part of the brand. You’re trying to get people to be immersed in the fantasy.” For one of his recent projects, the London flagship boutique of Italian jewelry designer Delfina Delettrez, his concept sought “a way to bring Italian richness to England.” He created a palette of luxurious contrasts: the glint of steel and brass against the richness of fur and malachite. “It feels ancient, exuberant, Italian, yet very contemporary,” de Cárdenas says. And, he was even able to imbue the space with Italian sex appeal. “The way the malachite wraps the back wall inviting the shopper down the stairs is suggesting and seductive. It is a particularly favorite feature of mine.”

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Historic role model: Lately, Andrée Putman. (3) • Most cherished design possession: My new Donald Judd Shaker table. • Where you retreat for a moment of quiet: I close my office door. • A moment that inspired you to become an architect and designer: A 1997 New York Times magazine article on the Guggenheim Bilbao (1), and Mark Wigley’s book, “White Walls, Designer Dresses.” • Most moving exhibition you’ve seen lately: “The Dream House” at the Dia Art Foundation in New York. I cannot recommend it enough (2).

3 Delfina Delettrez’s London flagship, designed by Cárdenas.

PORTRAIT BY ANDREW BOYLE; PHOTO MARIAN ZAZEELA , COURTESY DIA ART FOUNDATION; PORTRAIT BY XAVIER BÉJÓT (PUTMAN); MARK COCKSEDGE (DELETTREZ)

DÉJÀ VU

Once home to Coco Chanel, the hotly anticipated reopening of the Ritz Paris pays homage to one of its most famous residents with the Chanel au Ritz Paris spa.

IMAGE COURTESY OF RITZ PARIS

BY JACKIE COOPERMAN

An illustration of the lobby at the Ritz Paris, the hotel where Chanel’s first spa will debut later this year.

Of all the marvelous and storied

hotels in Paris, none is more iconic than the Ritz Paris, and no designer more mythologized than Coco Chanel, who maintained an opulent suite overlooking Place Vendôme for 34 years, until her death in 1971. The five-star hotel opened in 1898 by the Belle Epoque dream team of Swiss hotelier César Ritz and chef Auguste Escoffier, was home to a veritable who’s who of 19th and 20th century glitterati: Ernest Hemingway, Audrey Hepburn, Ingrid Bergman, Cole Porter, Zelda and F. Scott Fitzgerald, among them. More than a century later, the hotel closed in August 2012 for an extensive renovation project. More than three years and 200 million euros later, the Ritz Paris is poised to open its doors this winter. Restored to its prestige and grandeur, the Ritz Paris will also pay homage to its onetime resident with the Chanel au Ritz Paris, Chanel’s first-ever spa. Invoking Coco Chanel’s penchant for self-creation and mystery,

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executives from both the Ritz and Chanel have kept the details a closely guarded secret, for now. They’ve said only that the “exceptional partnership… will provide guests with a unique sensorial and customized experience inspired by Chanel’s art of skincare.” Translation: the spa will feature Chanel’s skincare line in its treatments, and what we hope will be a spa studded with tasteful intertwined C’s, camellias and quilted fabrics galore. For those looking to extend the Chanel experience, check into the new Coco Chanel Suite inspired by the one the designer originally occupied and by the décor she loved so much. Chanel, who once said, “I don’t understand how a woman can leave the house without fixing herself up a little, if only out of politeness,” makes perfect sense as a spa muse. “Luxury must be comfortable, otherwise it’s not luxury,” she is said to have opined. What better credo for a spa than that?

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RING LEADERS

When thinking about the fashion scene’s hot young things, sci-fi flicks and space exploration aren’t the first pursuits that come to mind. Yet, that’s exactly what fuels Eugenie Niarchos—daughter of Greek shipping heir Philip Niarchos, front-row fixture and founder of the fine jewelry label Venyx. “The costumes, the jewelry and the settings of those movies really inspire me,” says Niarchos. “I watched Star Wars as a kid and now I’m starting to revisit movies like Blade Runner and Metropolis again.” Still, she’s unlikely to be spotted at Comic Con. Each year, Niarchos presents Venyx to buyers and editors during the Paris couture season, and this summer she showed her latest collection, Oseanyx, which explores both the deep sea and the cosmos. “It’s basically how underwater life would be similar to life in outer space,” says the designer, who cheekily wore Charlotte Olympia’s Message in a Bottle platform sandals to the presentation. Oseanyx features gold rings that look like scallop shells, swirling hoop earrings take their shape from nautilus shells and stingrays dotted with vibrant emeralds, sapphires, rubies and diamonds. Some designs are hand-engraved as if they were long-sunken treasures. Others, set with

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PORTRAIT COURTESY OF VENYX

A coterie of young Europeans are changing the face of fine jewelry. Emily Holt meets Eugenie Niarchos to get a glimpse at the future.

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What a Gem

enamel, glow in the dark like bioluminescent sea creatures. “Man can create beautiful things—paintings, architecture and sculpture—but what nature creates is unbelievable,” says Niarchos. “The colors, textures and shapes are my main inspiration, and then I add a futuristic twist.” Niarchos is among an exciting group of young Europeans bringing a modern sensibility to the fine jewelry market. Fourth generation Delfina Delettrez’s surrealist diamond and pearl earrings with ruby lips and gold and enamel honeycomb cuffs have become akin to status symbols among the cool set, and Gaia Repossi’s articulated diamond-band finger cuffs and abstract chokers have reinvigorated her family’s 90-year-old house. At 19, Niarchos worked with her friend Repossi on two capsule collections, which is what led her to a career in jewelry design. “What’s nice about jewelry is that it makes people dream.”She enrolled in the esteemed Gemological Institute of America in London and, after graduation, apprenticed at Christie’s in its fine jewelry division. In 2008, she collaborated with French designer Vanessa Seward, then creative director at Azzaro, on three costume jewelry offerings and later Niarchos worked with knitwear label Lucien Pellat Finet on a limited edition selection of sweaters with bauble encrusted necklines. When she launched Venyx in 2012, “it was a bit of a surprise for a lot of people because I didn’t really talk about it,” Niarchos says. And although she’s garnered an extraordinary amount of success in only three years—the collection is sold in more than 15 stores worldwide, including The Webster at Bal Harbour, and counts Russian media maven Miroslava Duma and London-based designer Mary Katrantzou among its supporters—Niarchos admits to the same jitters as any emerging designer. “There’s always that thing in the back of your mind: what if no one will like it?” Little chance, says The Webster’s Laure Hériard-Dubreuil. “The Bal Harbour customer is very well-traveled and educated in fashion and luxury. She’s looking for a statement piece that is not seen everywhere. Venyx is the perfect fit.”

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PHOTOS COURTESY OF VENYX

For her third fine jewelry collection, Oseanyx, Eugenie Niarchos mined the natural world for inspiration from the cosmos to the sea. From left, the Kaleidoscope Tiger Ray ring, Lady V ring and Pharaonys earrings.

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CELEBRATING CINDY

In October, Rizzoli releases the international supermodel’s new biography including never-before-seen photographs of one of fashion’s most famous faces.

You have worked with so many incredible photographers. Which photographer had the biggest impact on your career and why? There isn’t a singular answer to that question. There are so many great photographers that have impacted me and my career. In my new book, there is a section dedicated to all of my photographer mentors and the different lessons I learned from each of them. What was the impetus to do this book now? As I am approaching my 50th birthday, I thought I could either hide from that number or embrace it and all the lessons I’ve learned on my journey. This book celebrates my career as a model, but also what I learned along the way. On the eve of your birthday, what wisdom would you impart on young models, or young women for that matter? I always tell young models to be professional—show up on time and try to learn the craft of modeling. Advice for young women is more personal, especially as I have a 14-year-old daughter. I want her to not be so hard on herself—to see the positives instead of focusing on what she perceives as flaws. When I was a young girl, I hated my beauty mark; and that ended up being my trademark. You never know! What do you see as the main changes in the fashion world today from when you started in the business? The biggest change I see is the power of social media. I think it’s great for young models—it gives them a chance to be more than just a pretty face and have a point of view. I was lucky that MTV’s House of Style gave me that same opportunity, but it wasn’t the norm for my generation of models.

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When you reflect back on such a storied career, what are a few stand-out moments? Career-wise, I’ve had some great highlights—my first Vogue cover with Richard Avedon, getting my first cosmetics contract with Revlon, doing my own first project with my exercise video and taking the chance and doing Playboy not once, but twice. I also loved doing the debut cover of John Kennedy Jr.’s magazine, George, and Vanity Fair with K.D. Lang, and walking down a Versace runway with Christy, Linda and Naomi while Freedom! ‘90 blared over the speakers! Many people believe that women come into the best years of their life in their fifties. What’s next for you? I hope that’s true! I definitely feel a shift; and while looking back during the process of doing my book was fun, I’m excited to see what’s next. Of course, I will still continue with my skincare line, Meaningful Beauty—if anything, taking care of myself is even more important now. But I also am enjoying taking on new projects. I have had a lot of fun doing Cindy Crawford Home with Rooms To Go, so hopefully I will continue with that. I am also trying to develop a couple of projects for TV and some documentaries. Do you have a daily go-to style? Jeans, heels, a cute top and a leather jacket—but the heels are starting to get lower! Who are your favorite designers of the moment? Tom Ford, Roberto Cavalli (always), Stella McCartney, Paige Denim What’s the one piece you’ve had in your wardrobe the longest? My Omega watch.

IMAGE COURTESY OF RIZZOLI

The seemingly ageless supermodel is turning 50. What better way to celebrate than with a visual account of her illustrious career? Sarah Harrelson catches up with the legend.

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Stay grounded this season with these malachite-inspired looks. BY SHANNON ADDUCCI

Todâ&#x20AC;&#x2122;s suede Wave bag, 305.867.9399 Armenta malachite blue topaz drop earrings, available at Saks Fifth Avenue, 305.865.1100

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A look from the Michael Kors Fall 2015 collection

Todâ&#x20AC;&#x2122;s leather belt and suede Gommino loafer, 305.867.9399 Jonathan Adler malachite vase, available at Neiman Marcus, 305.865.6161

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Alexander McQueen clutch, 305.866.2839

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OP ART

What’s black, white and retro all over? This season’s must-have accessories. BY SHANNON ADDUCCI

Lalique Masque de Femme limited edition backgammon set, 305.537.5150

A look from the Valentino Fall 2015 collection

Chanel resin cuff, 305.868.0550

Kelly Wearstler marble trapezoid, available at Nest Casa, 305.865.6313 Alexander McQueen long leather gloves, 305.866.2839

Grattacielo Plexiglas table lamp, available at Nest Casa, 305.865.6313

Lalique crystal Icône ring, 305.537.5150 76 BAL HARBOUR

Lalique Cactus box, 305.537.5150

Valentino black and ivory check metal minaudiere, 305.867.1215

TRENDS

Saint-Louis Hulotte crystal table lamp, available at Nest Casa, 305.865.6313

Christofle Duo Complice sterling silver and leather necklace, 305.864.0330

Lalique limited edition Rayons vase, 305.537.5150

ROCK THE CASBAH It’s hard not to get carried away by this season’s Moroccan vibes. BY SHANNON ADDUCCI

Aerin Ikat tray, available at Nest Casa, 305.865.6313

Michael Kors Collection silk Georgette dress, 305.864.4144

Tory Burch Kingsbridge sandal, 305.867.7469 A look from the Tory Burch Fall 2015 collection

Hermès Bleus d’Ailleurs tea cup and saucer, available at Nest Casa, 305.865.6313

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STRONG SILHOUETTE Fashion darling Rosie Assoulin turns up the volume and everyone is listening.

These days, new trends and fresh silhouettes come and ago with the slightest breeze on Instagram. But, a true shape-shifter—that’s a much rarer breed. With her nascent eponymous clothing line, Rosie Assoulin, the New Yorkbased fashion designer, is doing just that—and she’s just shy of 30. The Brooklyn-born designer, who has become the darling of the bi-coastal social set, is known for courting volume—as in flouncy crop tops, oversize trousers and evening gowns whose surprising proportions (like this fall’s green silk faille button down gown, nipped below the bust with an empire waist, A-line skirt and flowing floor-length panels cascading from the shoulders)—offer a divine sense of drama. Her preoccupation with bridging contradictory concepts has led her to the forefront of fashion’s newest breakout stars, and for good reason. Her design aesthetic is said to “toe the line between the romantically fantastical and reliably practical.” Her lines are bold and borderline theatrical—where modern meets retro, eveningwear meets daywear. “On an aesthetic level, it just appeals to me,” says Assoulin. But she does pause to consider what her pieces, which have been worn by Julianne Moore, Michelle Dockery and Lily Aldridge, stand for. “I guess the ultimate luxury is being able to say, ‘Can we step outside of the box and then encourage others to do the same?’ and that has been our experience with volume and some more experimental silhouettes.” Assoulin’s fashion viewpoint,

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though, wasn’t honed overnight. At 13, she was already making clothes out of her mother’s old pieces with her grandmother’s sewing machine. It was then she discovered her love for retro shapes, scouring her mom’s closet and vintage shops for inspiration. “A lot of it was too expensive for me to buy, so I would sometimes go to the Salvation Army and the places where you buy old clothes by the pound,” she says. “I would cut what I bought and reimagine it in fun ways. After school, I would work on a new ensemble for the next morning. Some nights, my head never hit the pillow. I didn’t always do very well in school those years.” But Assoulin’s aesthetic today is far from D.I.Y. After studying pattern-making at New York’s Fashion Institute of Technology, she interned at Oscar de la Renta and Lanvin. Her favorite moments were the fittings. “I still get excited thinking about watching them and wondering where the pieces we were working on would end up,” she recalls. “Their processes were very authentic and I saw how quickly they followed their instincts while still maintaining an open environment with their teams within the studio.” That’s something Assoulin has carried over to her own Tribeca studio, where she crafted her debut collection for Resort 2014, nerves and all. “Oh man, I had no idea what to expect,” she says. “It was a combination of zero expectations and high hopes. I wasn’t sure I would even get to a second season.” Now working on her Spring 2016 collection, Assoulin’s work has been a runaway success, largely because of her distinctive viewpoint. But rule-breaking isn’t about taking the path of least resistance. The most important lesson she has learned since starting her line is to “always stick with your gut.” “Even if a style didn’t come Get the look at The Webster, across one season, it doesn’t Bal Harbour. mean it won’t be successful the next. If you feel strongly about it, you have to stick to it!”

PHOTO COURTESY OF ROSIE ASSOULIN

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Celebrates

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For the last decade, Bal Harbour Magazine has celebrated the art of fashion illustration. Here, four of these artistsâ&#x20AC;&#x201D;Ruben Toledo, Jean-Philippe Delhomme, Megan Hess and Blair Breitensteinâ&#x20AC;&#x201D; animate Bal Harbour Shops on the occasion of its milestone anniversary.

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RUBEN TOLEDO New York City

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JEAN-PHILIPPE DELHOMME Paris

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A Five-Star and Five-Diamond resort destination in Miami’s most exclusive enclave, directly across from the Bal Harbour Shops.

J&G Grill is a restaurant concept created by world renowned Chef Jean-Georges Vongerichten. A comfortable yet elegant hideaway with floor-to-ceiling windows and dramatic ocean views, here is signature Jean-Georges sophistication realized far from home. Open daily for dinner. For J&G Grill reservations, dial 305-993-3333.

As the only live music venue in Bal Harbour, The St. Regis Bar presents a seductive twist on contemporary music seven nights a week. The bar features an exclusive selection of the world’s finest champagnes, rare vintage wines, and hand-crafted cocktails, complemented by a tailored menu of Sushi and Asian-inspired cuisine.

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AN EYE FOR THE EXOTIC

Precious they may be, but these fine jewels are meant to be worn. PHOTOGRAPHY BY ANTHONY COTSIFAS PRODUCED BY MICHAEL REYNOLDS JEWELRY MARKET EDITOR SHANNON ADDUCCI

On index finger: de Grisogono coral, brown and white diamond ring; on ring finger: gold and diamond Jane ring, 305.865.8765; from upper arm to wrist: Harry Winston lattice diamond bracelet and diamond Draperie bracelet, 786.206.6657; Pomellato brown diamond Tango link bracelet, 305.866.1225; David Yurman diamond pavĂŠ and gold Hampton bracelet, 305.867.1772; Chopard gold and ruby Red Carpet Collection cuff, 305.868.8626; Graff yellow- and white-diamond bracelet, 305.993.1212. Porcelain peacock, Nymphenburg, circa 1920, available at Seidenberg Antiques.

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Left: Chanel Fine Jewelry pearl, rubellite, sapphire and diamond Byzance necklace, 305.868.0550; Right: Bulgari amethyst, citrine, green quartz and diamond Parentesi necklace, 305.861.8898. English Parian Figure of Solitude, signed J. Lawlor Sculpt and Art Union of London, circa 1870; French bisque figure of Napoleon, circa 1870; porcelain figure of Diana, Nymphenburg, circa 1900, available at Seidenberg Antiques.

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On left hand, from left: de Grisogono amethyst Sensuale ring, 305.865.8765; Chopard golden pearl and diamond ring, 305.868.8626; Pomellato tsavorite, sapphire and diamond pavĂŠ Tango ring, 305.866.1225; Marco Bicego gold Lunaria cuff, available at Saks Fifth Avenue, 305.865.1100; Buccellati diamond and gold Etoilee cuff bracelet, 305.866.8686; Tiffany & Co. diamond bracelet, 305.864.1801. On vase, from top: Van Cleef & Arpels sapphire and diamond Renoncule Heritage clip, 305.866.0899; Chopard paraiba, diamond and titanium ring, 305.868.8626; Van Cleef & Arpels sapphire, garnet, spinel, onyx and diamond Moment de Chance Vert clip. On right, from right: Pomellato peridot Tabou dome ring, 305.866.1225; de Grisogono tourmaline, peridot, topaz, citrine, iolite and brown diamond Melody of Colors ring, 305.865.8765; David Yurman gold Woven Cable cuff, 305.867.1772; Tiffany & Co. Blue Book Collection diamond and sapphire bracelet, 305.864.1801; Van Cleef & Arpels rose gold Perlee cuff. One of a pair of English porcelain covered vases, Coalbrookdale, circa 1850, available at Seidenberg Antiques.

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From top: David Yurman diamond Starburst link necklace, 305.867.1772; Pomellato gold and diamond pavé Tango link bracelet, 305.866.1225; David Yurman gold and diamond Venetian Quatrefoil cuff bracelet; Marco Bicego gold Jaipur necklace, available at Saks Fifth Avenue, 305.865.1100. “Oedipus and the Sphinx” gilt-bronze, by Francois Leon Sicard, signed (French, 1862-1934) with Barbedienne foundry mark, available at Seidenberg Antiques. 98 BAL HARBOUR

From left: Harry Winston yellow diamond ring, 786.206.6657; David Yurman diamond and gold Quatrefoil ring (top); peridot and diamond pavĂŠ ring and amethyst and diamond Albion ring, 305.867.1772; Tiffany & Co. Schlumberger diamond and enamel bracelet, 305.864.1801. English porcelain five-light candelabra, Minton, circa 1870, available at Seidenberg Antiques. 100 BAL HARBOUR

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Tiffany & Co. Blue Book Collection aquamarine and diamond pendant, 305.864.1801; Chopard golden pearl, citrine, sapphire and apatite bead necklace, 305.868.8626. Bust of Marie Antoinette, bronze mounted French bisque, 19th century, available at Seidenberg Antiques.

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Buccellati one-of-a-kind kunzite, tourmaline and diamond cocktail pendant earrings, 305.866.8686. Bronze mounted French porcelain bird, Achille Bloch, circa 1880, available at Seidenberg Antiques. Photographed on location at Seidenberg Antiques, New York City.

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Versace

Well Well Well

Three of the countryâ&#x20AC;&#x2122;s most sought-after wellness gurus share their philosophies on healthy living. BY ALYSSA SHELASKY

Feeling good is the new looking good. Fad diets and 5-pound weights have been replaced with charcoal supplements, mantras and meditation retreats. Perhaps due to the frenetic pace of our lives, more people are seeking out new (though in fact, quite old) methods to restore inner balance, a psychological sense of emotional purity and a healthy (with a capital H) body that is as rested as it is strong. Here, we speak to Abdi Assadi, Sue and Alex Glasscock and Gabrielle Bernstein about their expertise on a life well-lived, and the tools they use to get their clients there.

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The Acupuncture Artist Abdi Assadi, New York City

Abdi Assadi is a healer who draws from Japanese, Vietnamese and Chinese acupuncture, body-centered psychotherapy, intuitive work, indigenous shamanic practices, as well as internal martial arts and meditative practices. He believes that most physical ailments and psychological issues are intermingled—and of course, there is always a spiritual component present, too. “Depending on the need of the person that I work with, their specific issue can be both accessed and addressed physically, emotionally or spiritually,” he says. “A typical session will involve some talk therapy, intuitive work and then acupuncture.” It’s the acupuncture, however, that Assadi is truly famous for. “Like all bodywork, acupuncture helps us connect with our bodies. Our bodies are innately wise, but modern living with its stress promotes a sense of disconnection,” he explains. “So first and foremost, I would say that acupuncture helps us start a relationship with our body. We all hold a tremendous amount of tension as a response to the stresses of life. These areas of tension have a negative effect on the underlying organs. By releasing these ‘trigger points’ with needles, we allow the organs underneath to function better. Also, there is a chemical change that occurs during treatment that helps both the immune function and our emotional state. Raised in Africa and Asia, Assadi was exposed to dire situations due to his father’s work with UNICEF. From an early age, he wanted to help the world from suffering. He planned on becoming a physician, but as he finished college in the mid-1980s in New York City, he was introduced to a program that was using acupuncture to treat drug and alcohol addictions. “That sealed the deal, and I started my journey into healing.” His journey has evolved into something much more comprehensive, and with quite an elite cult following. One of his most famous clients is fashion designer Norma Kamali, whom Assadi calls “an artist’s artist” and like him shares many interests in global issues, health and spirituality. But don’t get consumed by his celebrity fans (as the list is neverending). “People are people, we are all the same. We all have the same hopes and fears wrapped in different disguises.” The Wilderness Whisperers Sue and Alex Glasscock, Malibu, California

If a wellness retreat is on your agenda, it’s time to check out The Ranch at Live Oak/Malibu. The luxe yet minimalistic property buried in the woodsy terrain of Southern California prides itself on a program built on hours of non-negotiable daily group fitness—hiking, core training, yoga and more—and no access whatsoever to technology. The intensive week-long program was created by Sue and Alex Glasscock, a radiant married couple who lead by example with their exercise-rich lifestyle and frankly, by keeping it real. “Our philosophy on wellness is all about living a balanced and fun life,” says Alex. “Having knowledge and consciousness, but not being so rigid. We want to create habits that are sustainable. We have to remember ‘wellness’ means different things to different people; we are about making and living a life that works for you personally.” Personalization aside, all guests are sent on 10- to 12-mile morning

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hikes through the stunning mountains and cliff sides of Malibu, occasionally in silence. “Mountain hiking is one of the best low-impact ways to boost your metabolism, burn calories and fat—all the while being in nature and unplugging,” says Glasscock. “It gives you space and mental freedom to reflect. Reflection is the ultimate goal.” The Glasscocks have launched R4.0, a shorter and slightly more lenient version of the original program for guests desiring a jump-start to a healthier lifestyle who are unable to be away from home or work for a full week. At R4.0 the Glasscocks also offer tailored-made getaways for corporate meetings, family gatherings and even bachelorettes. Aside from overseeing their award-winning resorts, the couple is working on an organic and vegan food line that they hope to take nationwide. In the past year the Glasscocks have formed partnerships with exclusive resorts, including the California Health & Longevity Institute (CHLI) at Four Seasons Hotel Westlake Village in Los Angeles, offering its R4.0 program. “It all started 26 years ago when Sue and I met,” says Alex. “It has just been evolving since. Living in Southern California has exposed us to a wide variety of health and wellness experiences. Our motivation is to be healthy and have a long, vibrant and active life. We want to be skiing at least into our 90s.”

The Motivational Master Gabrielle Bernstein, New York City

Gabrielle Bernstein likes to quote Joan of Arc: “I am not afraid… I was born to do this.” The author and motivational speaker sure was! She’s published one book per year since 2010, and draws tens of thousands of followers at hyper-empowering lectures and workshops around the world. Bernstein’s mass allure is largely due to her own admission of flaws. Her foray into wellness started with her personal struggles with sobriety, and today, she bonds deeply with clients over similar vulnerabilities with drugs, food, work—various lifestyle imperfections which she herself has never claimed to be immune to, although clean and sober now. “I believe that what makes my work stand out is my willingness to keep it real. The more real I am, the more my audience can recognize themselves in me. They can see that we all struggle and that we can all heal,” she says. “Your happiness is a choice you make,” is the mantra she often reminds her pupils. “This takes commitment, but it’s worth it!” There is a strong spiritual component to Bernstein’s teachings, as she fundamentally believes that a spiritual life offers the ultimate pathway to happy, healthy energy. “We can measure our success and happiness based on our spiritual condition,” she says. “The more faithful we are, the more power we have to heal our lives. I perceive myself as a ‘can opener.’ I aim to crack people open to a spiritual relationship of their own understanding. When we accept that we are one with a powerful force far beyond our physical site we begin to feel free.” Bernstein is currently working on a new book entitled “The Universe Has Your Back,” as well as growing her thriving Spirit Junkie Masterclass training program—a course that empowers others to unleash their own inner-wellness gurus. She also leads an annual global meditation with her friend and teacher, Deepak Chopra.

BAL HARBOUR SHOPS COLLINS AVENUE S C O O P N YC .C O M

IN DEFENSE OF CASUAL

Tomas Maier brings his namesake label—and a fresh approach to wearable, touchable feel-good fashion—to Bal Harbour.

PHOTO COURTESY OF TOMAS MAIER

BY KATE BETTS

The new Tomas Maier boutique at Bal Harbour Shops

“I always look for a space that’s special,” says German-born designer Tomas Maier, discussing his new eponymous shop at Bal Harbour Shops. Located on the second floor, the space boasts a casual ambiance with clean white walls accented by wood display pieces designed by Maier and several furniture pieces by Danish designer Ole Wanscher. “I’m not a formal person,” says Maier, sitting in his Midtown, Manhattan showroom on a sunny morning dressed in sneakers, jeans and a midnight navy T-shirt. “For me, individuality and easy dressing equates to relaxation and confidence.” And more and more, that’s the way Maier views fashion these days. The racks in his showroom are filled with easy-to-wear items, including

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a Japanese crepe jumpsuit, cashmere wrap cardigans, pull-on cords so soft they feel like sweatpants, and perfectly cut wool pea coats. “I don’t need a suit and tie to feel good about myself,” he says. When he isn’t traveling the world or commuting from his pied-àterre on New York City’s Upper East Side to Bottega Veneta’s Milan showroom for fashion fittings and shows, Maier lives between Palm Beach and Montauk, Long Island. These iconic seaside locales are decidedly less formal than the fashion capitals he frequents and, as such, they have wielded enormous influence on his designs. Of course, Maier still designs plenty of suits and ties for Bottega Veneta, the Italian luxury lifestyle brand where he has been creative director since 2001. But his own line is creatively closer to his own lifestyle.

PORTRAIT BY DEAN KAUFMAN

Tomas Maier embodies the effortless elegance his brand is built upon.

“Everything is always on the casual side,” he says, gesturing to a showroom filled with racks of washed khaki, baby cashmere and featherweight nylon taffeta. “For both men and women, I like fabrics that feel nice on the skin. This line is for people like me—people who travel a lot, people who don’t need formal clothes. Of course, I have a suit if I really need it, but I don’t wear them much anymore.” Maier started his line with business partner Andrew Preston in 1997. They opened the first Tomas Maier shop in Miami Beach’s Sunset Harbor neighborhood in 2006, the same year that Maier took the creative reigns at Bottega Veneta. He made sure that his own label was distinctly different in its casual style. Originally conceived as a yearround resort collection filled with beach staples like streamlined swimwear, shrugged on cover-ups and lightweight, casual separates, the line has expanded to include much more. Two years ago, Maier

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decided to “take it to another level” and partnered with François-Henri Pinault, the CEO of luxury conglomerate Kering (and his boss at Bottega Veneta). This partnership has allowed Maier and his team to develop an array of product categories, including accessories, outerwear, denim, jewelry and shoes. It also allowed him to open more stores, including a flagship boutique on New York’s Madison Avenue and a satellite boutique on Bleecker Street. The Bal Harbour boutique is the brand’s fifth store. A veteran of design studios at established European luxury brands like Sonia Rykiel, Revillon and Hermès, Maier has worked for some of the most exclusive labels in the business. But with the Tomas Maier brand, the key has been to create classic, European-style casual separates in the best fabrics and shapes, and all priced under $1,000. It’s not as easy as it looks.

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For a Chicago apartment in a classical 1940s building, Jean-Louis Deniot created a Parisian salon-style interior to highlight the client’s art collection.

FRENCH REVOLUTION

Jean-Louis Deniot stakes his claim as France’s next great interior designer. BY TIM MCKEOUGH 128 BAL HARBOUR

An exclusive collaboration between Damien Hirst and Lalique Available in three series, each depicting a different butterfly, these exquisitely crafted crystal panels (37.5 x 41 x 2 cm) have been produced in 12 colours in a limited edition of 50 and are engraved with the signature of the artist. «When the light shines through these panels, it feels like [the butterflies] are brought back to life in some way.» —Damien Hirst

Bal Harbour Shops, 9700 Collins Avenue, Bal Harbour, FL 33154 (305) 537-5150 Photographed by Prudence Cuming Associates © Damien Hirst and Lalique, 2015

rom Jean-Michel Frank to Maison Jansen to Andrée Putman, France has a reputation for producing interior designers and architects capable of pushing the creative envelope while maintaining a sense of supreme, knowing elegance. The latest talent to continue this tradition, while giving it a new twist, is Jean-Louis Deniot. In recent years, whispers about a Paris-based designer who masterfully mixed decorative periods and styles, while creating rooms layered with luxuriously textured materials and a subdued palette of greys and off-whites, grew ever louder. Following the publication of his first book with Rizzoli last year, “Jean-Louis Deniot: Interiors,” that attention has become a full-blast roar— Deniot is a leader of contemporary French style, and has emerged as one of the most in-demand designers working today. “I like to experiment with juxtapositions of styles, periods and textures in a constant effort to create excitement and magic,” Deniot says of his eclectic approach to design. “I spend a great deal of time dreaming, and have the capacity to visualize finished spaces.” That skill is a blessing for a designer who’s no stranger to making unlikely arrangements of objects feel perfectly natural, such as a living room that mixes classical sculpture, mid-century modern furniture and contemporary photography. To gauge whether such risks will pay off, Deniot relies on instinct. “I know instantly whether or not something is working,” he says.

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When images of the designer’s own Paris apartment were first released three years ago, they created a sensation, turning up on hundreds of design blogs and Pinterest boards. The home reflects a rich materiality that’s rare for today, evoking a touch of traditional French grandeur, but filtered through 21st century restraint. Kitchen cabinet doors are covered with hammered silver. A striped guest bathroom floor inspired by conceptual artist Daniel Buren is formed by alternating strips of light and dark limestone. The living room is organized around a low fireplace, featuring a thick Turkish marble mantel, while the walls and ceiling are painted with subtle, gauzy clouds. Taken together, the home offers unapologetic luxury, but never oversteps into the realm of being overbearing or garish. Deniot’s busy office is presently at work on some 30 residential projects spanning 15 countries and 20 cities. They include period castles in France’s countryside, a palace outside Moscow, two compounds in India, two houses in Hong Kong and three in London and a host of homes across the United States, including his own pied-àterre in West Hollywood. In Miami Beach, he is at work on two houses on Flamingo Drive and a penthouse on Collins Avenue. He’s also designing Elysee Residences, a high-rise on Biscayne Bay in Miami. At the same time, the designer’s wizardry with furniture and lighting has led to collaborations with a number of top-tier showrooms—sculptural casegoods and

PORTRAIT COURTESY OF JEAN-LOUIS DENIOT

“I like to experiment with juxtapositions of styles, periods and textures in a constant effort to create excitement and magic.” —Jean-Louis Deniot

DESIGNER READING LIST

“A Touch of Style” by Carlos Mota (Assouline, 2015)

“Adolf Loos: Works and Projects” by Ralf Bock (Skira, 2007)

A Los Angeles estate designed by Deniot reflects a polished take on contemporary forms.

tables for Jean de Merry, an extensive line of furniture with angular star-shaped bases for Marc de Berny and upholstered pieces with flowing curvaceous lines for George Smith. Next spring, he’ll release his biggest, most accessible collections to date—a 90-piece furniture collection with Baker Furniture and a fabric collection of about 50 different patterns and colorways for Brunschwig & Fils in the fall. With so many projects under way, Deniot is also already at work on a follow-up book, tentatively due out in 2017.

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“The Henry Clay Frick Houses: Architecture, Interiors, Landscapes in the Golden Era” by Martha Frick Symingt Sanger (The Monacelli Press, 2001)

None of the attention, praise or enviable commissions seems to faze the ultra-confident Deniot, who founded his firm immediately upon graduation from Paris’ École Camondo in 2000. “When I started my company, I knew right away I wanted to work on a global scale, and to go and design in as many places as possible,” he says. “My career path is inspired by some of this business’s great masters—including Alberto Pinto—who have produced bigger-than-life projects worldwide.”

“Jean Royère” (Edition Galerie Jacques Lacoste & Galerie Patrick Seguin, 2012)

PHOTO © XAVIER BÉJOT, COURTESY OF RIZZOLI

“Jeremy Scott” by Jeremy Scott (Rizzoli, 2014)

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FACES OF FASHION

Though fashion is an industry driven by change, there are images etched in our collective memory that help define a decade. Here, we’ve asked some of the pillars of the industry to select the models who best captured “the moment,” from the Swinging Sixties to InstaFashion.

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COURTESY OF TRUNK ARCHIVE

Naomi Campbell, Christy Turlington and Linda Evangelista, photographed by Roxanne Lowit, 1990

Carlyne Cerf de Dudzeele, Stylist “My favorite models are the Trinity: Linda, Naomi and Christy. Those girls had personality and they loved fashion as much as I do! And most importantly—we had fun!”

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PHOTO BY PETER LINDEBERGH, COURTESY OF ABRAMS FROM “HARPER’S BAZAAR: MODELS”

Amber Valletta by Peter Lindbergh, 1993

Glenda Bailey, Editor-in-Chief, Harper’s Bazaar “I gave Amber Valletta her first cover when I was still with British Marie Claire. Later on, she appeared in what has got to be one of the all-time greatest fashion sessions, which is of course the angels session, shot by Peter Lindbergh for Harper’s Bazaar. But most importantly, over the years I’ve had the pleasure of getting to know Amber, and apart from her obviously being drop dead gorgeous, she has a lovely spirit, is gracious and has a great sense of humor.”

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James Danziger, Photography Dealer

PHOTO BY GREGORY HARRIS, COURTESY OF TRUNK ARCHIVE

“With a 19-year-old daughter whose interests are fashion and art, I am constantly being kept up to date. I’m particularly impressed by the new generation of models who have taken to social media and the Internet to control their own image—my favorite is Natalie Westling. With her slightly otherworldly looks—something of the new normal these days—she looks like a figure from Edward Gorey or The Addams Family, but one who skateboards aggressively and campaigns for LGBT rights. I first saw Natalie in one of i-D Magazine’s YouTube videos called ‘A Guide To Being A Modern Lady.’ In this video she reads from a 1950s etiquette book for young ladies, reinterpreting the advice for Generation Z: “Polish your silver and gold” finds Westling polishing her collection of skull rings.”

Natalie Westling photographed by Gregory Harris, 2014 BAL HARBOUR 141

PHOTO COURTESY OF PENGUIN PRESS, FROM “GODS AND KINGS”

Shalom Harlow during Alexander McQueen’s famed “No. 13” fashion presentation in 1998

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Ivan Bart, President of IMG Models “Shalom Harlow defined the ‘90s. If you think about it, a decade doesn’t really begin until you’re three or four years into it—that’s when it begins to take shape. So around ‘93, we were just seeing the end of the supermodels like Linda Evangelista, Christy Turlington and Naomi Campbell. Then in walks Shalom Harlow and Amber Valletta. They were not the Amazonian über models. I still remember, Shalom would walk into a room with these granny glasses and you’d think, ‘Who is that librarian standing over there?’ But after hair and makeup, she’d be completely transformed. No one could walk a runway like Shalom. She would jut her hips out; she was so graceful. She became the muse to Marc Jacobs, who started the grunge movement, and then to so many designers like Alexander McQueen. This moment goes down in fashion history as one of the best: it was 1998 and McQueen put her in this simple white cinchedwaist flouncy dress and he had her positioned between these two robotic arms. She’s an actress; she was seemingly struggling as these arms came out and sprayed her with paint. By the end, it was a graffiti dress. People just were clapping and screaming for 25 minutes.” BAL HARBOUR 143

Lynn Yaeger, Writer “I think Twiggy was just extremely magical. I think it was in Seventeen that I first saw her. I look nothing like her obviously, but I thought ‘maybe I did. Maybe I could.’ I was a young girl when she burst onto the scene—she’s older than I am—she was so beautiful and unserious. There was a great playfulness about her. It was this ‘60s revolution, that was so appealing to me—even though it was before I had any politics. And you know, I’m completely leftist, but there was something about her being this completely working class girl. Completely unpretentious. Completely not in that rarified fashion world of money and status. She was discovered as a hair-washing girl. I liked all of that!”

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IMAGE COURTESY OF TRUNK ARCHIVE

Twiggy photographed by Cecil Beaton, 1967; at left, by Terence Donovan, 1966

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WE ARE PLEDGED TO THE LETTER AND SPIRIT OF THE U.S. POLICY FOR THE ACHIEVEMENT OF EQUAL HOUSING OPPORTUNITY THROUGHOUT THE NATION. WE ENCOURAGE AND SUPPORT AN AFFIRMATIVE ADVERTISING AND MARKETING PROGRAM IN WHICH THERE ARE NO BARRIERS TO OBTAINING HOUSING BECAUSE OF RACE, COLOR, RELIGION, SEX, HANDICAP, FAMILIAL STATUS OR NATIONAL ORIGIN. THE SKETCHES, RENDERINGS, PICTURES AND ILLUSTRATIONS ARE PROPOSED ONLY AND THE DEVELOPER RESERVES THE RIGHT TO MODIFY, REVISE OR WITHDRAW ANY OR ALL OF THE SAME AT ITS SOLE DISCRETION WITHOUT NOTICE. THE RENDERINGS ILLUSTRATE AND DEPICT A LIFESTYLE, HOWEVER, AMENITIES, FEATURES AND SPECIFICATIONS ARE SUBJECT TO CHANGE WITHOUT NOTICE. ALL INFORMATION IS DEEMED RELIABLE BUT IS NOT GUARANTEED AND SHOULD BE INDEPENDENTLY VERIFIED. ALL REAL ESTATE ADVERTISED HEREIN IS SUBJECT TO THE U.S. FEDERAL FAIR HOUSING ACT OF 1968 WHICH MAKES IT ILLEGAL TO MAKE OR PUBLISH ANY ADVERTISEMENT THAT INDICATES ANY PREFERENCE, LIMITATION, OR DISCRIMINATION BASED ON RACE, COLOR, RELIGION, SEX, HANDICAP, FAMILIAL STATUS, OR NATIONAL ORIGIN. PLEASE CHECK WITH YOUR LOCAL GOVERNMENT AGENCY FOR MORE INFORMATION. ORAL REPRESENTATIONS CANNOT BE RELIED UPON AS CORRECTLY STATING REPRESENTATIONS OF THE DEVELOPER. FOR CORRECT REPRESENTATIONS, MAKE REFERENCE TO THIS BROCHURE AND TO THE DOCUMENTS REQUIRED BY SECTION 718.503, FLORIDA STATUTES, TO BE FURNISHED BY A DEVELOPER TO A BUYER OR LESSEE. THIS IS NOT AN OFFER FOR CONTRACT OR SALE IN THE STATES OF NY, NJ OR MASS. THE STATEMENTS MADE CONCERNING THE TURNBERRY OCEAN CLUB DO NOT CONSTITUTE OFFERS TO SELL, OR A SOLICITATION OF AN OFFER TO BUY A UNIT IN THAT CONDOMINIUM. NO SOLICITATION, OFFER OR SALE OF A UNIT IN THE CONDOMINIUM WILL BE MADE IN ANY JURISDICTION IN WHICH SUCH ACTIVITY WOULD BE UNLAWFUL PRIOR TO REGISTRATION UNDER THE LAWS OF SUCH JURISDICTION. INITIATION FEE AND FIRST YEAR'S ANNUAL DUES AT TURNBERRY ISLE RESORT AND COUNTRY CLUB ARE PAID FOR BY THE DEVELOPER. BUYERS ARE RESPONSIBLE FOR ALL FEES BEGINNING YEAR TWO. MARKETING AND BRANDING BY TURNBERRY AND CONWAY+PARTNERS.

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LICENSED FOR USE. THIS IS NOT AN OFFER TO PURCHASE A CONDOMINIUM WHERE SUCH AN OFFER IS PROHIBITED BY LAW. YOUR ELIGIBILITY TO PURCHASE MAY DEPEND UPON YOUR STATE OF RESIDENCY. ALL DRAWINGS ARE CONCEPTUAL RENDERINGS AND THE DEVELOPER EXPRESSLY RESERVES THE RIGHT TO MODIFY. ALL PLANS, ARCHITECTURAL INTERPRETATIONS, LAYOUTS, DESIGNS, AMENITIES, BRANDS, AND SPECIFICATIONS ARE SUBJECT TO CHANGE WITHOUT NOTICE. IMPROVEMENTS, LANDSCAPING, FURNITURE, FIXTURES, AND AMENITIES DEPICTED MAY NOT EXIST AND MAY NOT BE INCLUDED WITH PURCHASE. ACTUAL VIEWS MAY VARY AND CANNOT BE GUARANTEED. ONLY STATEMENTS MADE IN THE PROSPECTUS FOR THIS CONDOMINIUM SHOULD BE RELIED UPON; CONSULT THE PROSPECTUS FOR TERMS, CONDITIONS, COMMON ELEMENT EXPENSE, ADDITIONAL CHARGES FOR AMENITIES IF ANY, FINISHES, UPGRADES, AND PROJECT AND UNIT SPECIFICATIONS. 2015 速 RDR SEASHORE, LLC WITH ALL RIGHTS RESERVED.

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Lace

NOIR Hilary Rhoda channels Fall’s romantic mood in the season’s most delicate dresses. PHOTOGRAPHY BY RUSSELL JAMES 168 BAL HARBOUR

| STYLING BY SARAH GORE REEVES

Michael Kors Collection chantilly lace dress, 305.864.4144; Erickson Beamon bracelet, available at Oxygene, 305.864.0202; Christian Louboutin patent laser cut pumps, available at Saks Fifth Avenue, 305.865.1100; Jimmy Choo pearl clutch, 305.864.3656.

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Zimmermann Rhythm Lace Links dress, available at Saks Fifth Avenue, 305.865.1100; Christian Louboutin Iriza pumps, available at Neiman Marcus, 305.865.6161; de Grisogono Gypsy earrings, 305.865.8765.

Erdem Orlando dress, available at Saks Fifth Avenue, 305.865.1100; Chanel clutch, 305.868.0550; Christian Louboutin Iriza pumps, available at Neiman Marcus, 305.865.6161; de Grisogono Onde ring and Gypsy ring, 305.865.8765.

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Bottega Veneta dress, 305.864.6247; Jennifer Fisher Square Hoop earrings, available at Oxygene, 305.864.0202; David Yurman Venetian Quartrefoil dome ring, Labyrinth dome ring and bracelet, 305.867.1772.

Akris dress, 305.866.2299; Carolina Amato lace gloves, available at Intermix, 305.993.1232; Erickson Beamon bracelet, available at Oxygene, 305.864.0202. 174 BAL HARBOUR

Salvatore Ferragamo macramĂŠ lace skirt and top, 305.866.8166; Christian Louboutin Vampydoly pumps, available at Neiman Marcus, 305.865.6161; de Grisogono Onde ring, 305.865.8765.

Valentino dress, 305.867.1215; Christian Louboutin Enchantee pump, available at Saks Fifth Avenue, 305.865.1100; Pomellato Victoria ring, 305.866.1225. 176 BAL HARBOUR

Oscar de la Renta rose macramĂŠ gown, 305.868.7986; Erickson Beamon necklace, available at Oxygene, 305.864.0202. 178 BAL HARBOUR

Stella McCartney Dan coat, 305.864.2218; La Perla Neoprene Desire bodysuit, 305.864.3173; Christian Louboutin Iriza pumps, available at Neiman Marcus, 305.865.6161; Pomellato Tango bracelet, 305.866.1225; de Grisogono Onde ring, 305.865.8765; Wolford thighhigh stockings, 305.868.4044.

Photographer: Russell James Fashion Director: Sarah Gore Reeves Photographer assistant: Max Bernetz Stylist assistants: Seppe Tirabassi, Katrina Athanasiou Hair: Felix Fischer/ Factory Downtown Makeup: Brigitte Reiss-Andersen/ The Wall Group Manicurists: NQ/ Art Department Producer: Kara Glynn Tech: Polly Babcock Model: Hilary Rhoda/IMG Models

The

NEW

classic Black and white has never looked so fresh.

PHOTOGRAPHY NICO BUSTOS STYLING BY SARAH GORE REEVES

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DSquared2 sweater dress, 305.866.7880; Proenza Schouler double notch ring, available at Intermix, 305.993.1232.

DSquared2 black and white combo shirt dress, 305.866.7880.

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Stella McCartney Daisy embroidered dress, 305.864.2218; Proenza Schouler backless bow heel, available at Intermix, 305.993.1232; Dolce & Gabbana bodysuit, 305.866.0503.

Akris wide leg wool jumpsuit, 305.866.2299.

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Ralph Lauren Collection oversized cardigan with fringe, 305.861.2059; Erickson Beamon bracelet, available at Saks Fifth Avenue, 305.865.1100.

Gucci black wool jacket and pants with contrast pearl piping, 305.868.6504; American Apparel hoodie; Pomellato Tango collection rose gold necklaces, 305.866.1225. 186 BAL HARBOUR

Anthony Vaccarello leather jacket and skirt, available at Intermix, 305.993.1232; Altuzarra Coolbirth studded lace up ankle boot, available at Neiman Marcus, 305.865.6161.

Ralph Lauren Nappa leather pant, vest, and broadcloth shirt, 305.861.2059. 188 BAL HARBOUR

Tom Ford long sleeve Gilaba tunic with fringe, available at Neiman Marcus, 305.865.6161; Roger Vivier studded skyscraper bootie, 305.868.4344.

Tomas Maier black jumpsuit, 305.351.9560; American Apparel hoodie; Chanel necklace, 305.868.0550.

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Fendi dress, 305.861.7114; Marc Alary Gazelle horn choker, available at The Webster, 305.868.6544; Barbara Bui high top sneakers, available at Intermix, 305.993.1232. Photographer: Nico Bustos/Art List Fashion Director: Sarah Gore Reeves/Altered Agency Photographer Assistants: Lorenzo Profilo, Alex Orjecovschi Fashion Director Assistants: Seppe Tirabassi, Katrina Athanasiou Hair: Karim Belghiran/Art List Makeup: Brigitte Reiss-Andersen/The Wall Group Manicurist: NQ/Art Department Model: Hana Jirickova/Women Management

192 BAL HARBOUR PHOTO BY ERIC FRIDEEN, COURTESY OF TRUNK ARCHIVE

FOR THE LOVE OF THE ROAD Car collectors are a rare breed. Here, we speak to three of the country’s foremost collectors about what drives their passion— from performance to nostalgia. BY LAWRENCE ULRICH

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Miles Collier, a businessman, philanthropist and Yale-trained painter, hails from the third generation of the Florida family for whom Collier County is named. His father and uncles were road-racing pioneers, importing the first British MGs to America prior to WWII, founding the Automobile Racing Club of America in 1933 and were among the first members of the Sports Car Club of America, which was founded in 1944. Aside from more than 100 automobiles, Collier’s museum houses an automotive library with about 30,000 books, 300,000 magazines and more than 1 million photographs. All in the Family “My dad and his brothers were early sports car pioneers in America, so it was hard for me not to become a car guy. In 1950, I got a ride in the Ardent Alligator (the car Collier’s father drove to a famous comeback win at the Watkins Glen Grand Prix in New York, the previous year). We’re in this full-on racecar on A1A south of Palm Beach, on the far side of 100 mph. I remember thinking, ‘Hey, this is pretty good.’” On Technology “One of my major points of engagement is technology. I love how the mechanisms work—all the whizzy, oily bits flying around the engine. I tend to collect competition cars, the ones that defined the state-of-the-art in their day.” More than Metal “Why do people collect cars? Cars are the single most important piece 194 BAL HARBOUR

of technology from the 20th century, and they’re still damn important in the 21st century. They’re the most transformative product the world has ever seen.” If the Museum is Burning… “Probably my dad’s MG PA/PB Leonidas. He took it to Le Mans and raced it there in 1939 (as the first American entry since 1921). My brothers would not be happy if I didn’t save that first. It’s a sentimental relationship—more than a car, it’s a family heirloom.” Old-School Pleasures “Driving a 1929 Bentley, and driving it well, is a whole different kettle of fish than taking off in a paddle-shifted Porsche today. There’s a great sense of achievement.” Businessman Peter Mullin—whose recent record-setting $15 million gift to the Art Center College of Design in Pasadena, California, will boost its world-renowned auto design program—is also chairman of the Petersen Automotive Museum in Los Angeles. He races vintage cars and is a longtime supporter of the annual Pebble Beach Concours d’Elegance in California. Mullin’s own museum houses one of the world’s greatest collections of French cars, mainly Art Deco baubles. Where it all Began “My first collector car was a Talbot-Lago Record Cabriolet from 1948. It was phenomenally attractive. Virtually all the cars we’ve collected are French, mostly pre-war. Other cars I love because I love to race them.” Better than Art “It’s hard to drive a piece of sculpture around a track. But even fine art museums are embracing the automobile. It indicates that the automobile has reached the rarefied atmosphere of fine art. Cars check all the boxes for collectors to say, ‘This is something I’d like to focus on.’” Not a Commodity “It does bother me that there’s so much focus on dollar values as opposed to the essence of what a car is, what’s special about its design, engineering or provenance. Sure, I’d rather see them increase in value than decrease. But I never bought a car because I thought it was a great investment. It was passion and love for what it was.” The Favorite “It’s like children—it’s hard to pick which you love the most. But the 1938

PHOTO COURTESY OF THE REVS INSTITUTE FOR AUTOMOTIVE RESEARCH, INC.

hile celebrated artist Marina Abramović has no shortage of fans, there’s a certain breed of collector who prefers a faster-paced style of performance art: the automobile. Miles Collier, Peter W. Mullin and Dr. Frederick Simeone are three of America’s pre-eminent car collectors. And unlike with, say, Ralph Lauren, you don’t need to be a personal friend to tour their fantasy garages. At their respective temples of transportation—The Mullin Automotive Museum in Oxnard, California; The Collier Collection at The Revs Institute in Naples, Florida and Philadelphia’s Simeone Foundation Automotive Museum—fans can see some of history’s most significant, obsessively preserved and flat-out gorgeous automobiles. Here, we speak to these passionate collectors about their lifelong love of cars, and what drives them to amass automobiles.

C. Miles Collier in an MG PA/PB Leonidas at the Le Mans race in 1939.

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PHOTOS COURTESY OF MILES COLLIER; KALLE GUSTAFSSON, COURTESY OF TRUNK ARCHIVE

Nazarian blends modern elements with antiques to create a look completely her own.

“An automobile that doesn’t run has lost its soul to some extent. Drive them spiritedly.” —Dr. Frederick Simeone

Talbot-Lago Teardrop (by master coachbuilders Figoni et Falaschi) may be the most beautiful piece of auto sculpture that’s ever been created.” The First Time “My first car was a 1953 Chevy Bel Air, sierra gold with a cream interior. It was as pretty a thing as I could think of. I mowed a lot of lawns and took out a lot of trash to buy that.” Wish List “I’d love a Williams-Renault (a championship Formula One car of the early 1990s). It literally requires three or four laptops to start it; it was the sharp end of a $200 million racing effort.”

Dr. Frederick Simeone is a retired neurosurgeon from Philadelphia, a former Harvard faculty member and neurosurgery professor at the University of Pennsylvania. Simeone has spent 50 years assembling his remarkable collection of racing sports cars, from Ferraris and Bugattis to Corvettes and Aston Martins. Playing Favorites “My favorite is the Alfa Romeo 2900B Mille Miglia Spyder. Driving it, you’re one with the road. It has nostalgia, a great racing history and it’s drop-dead gorgeous.” Vintage, all the Way “I’m interested in vintage racing machines, the philosophy of competition. It’s a great story of industrial evolution, the things that happen as a result of trying to win.” 196 BAL HARBOUR

Moving History “Passion number one is nostalgia, but there’s also history, technology… cars that have changed the world. And while you can’t do much with your modern car, unless you have a computer, with a classic you can really work on it.” A Lesson in Mechanics “As a teenager, my dad bought me a very beat-up Alfa Romeo for a few hundred dollars, and left it to me to build it back up. He was a Philadelphia doctor who made $3 house calls, and we always had car books around the house. The Saturday Evening Post once ran a story on him, about crazy guys who restored cars for fun.” The One that got Away “The 1929 Mercedes-Benz SSK is the fabulous car which I’ve never been able to get.” Auto Exercise “An automobile that doesn’t run has lost its soul to some extent. Every other Saturday we take the cars out on our three acres of blacktop for a Demonstration Day, and drive them spiritedly. People get to see them, hear them, even smell them. A car develops its character when it’s in motion, and you don’t want to leave that out.” Advice for Amateurs “Do your homework. You wouldn’t buy an expensive painting without knowing who painted it and who owned it; and an auction catalog is not the honest way to get that history. If a car has historical significance, there’s a way to find that out firsthand.”

PHOTOS COURTESY OF PETER MULLIN; DR. FREDERICK SIMEONE

A 1938 Dubonnet from Peter Mullin’s collection

A 1938 Alfa Romeo from Dr. Frederick Simeone’s collection BAL HARBOUR 197

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IMAGE COURTESY OF GOYARD

WHEN A WHISPER IS LOUDER THAN A ROAR Jessica Michault enters the fiercely guarded Goyard universe to see what keeps this venerable brand on the most coveted list.

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he fashion industry is running at breakneck speed. It’s a keeping up with the Joneses business-wide malaise that leaves very little room for any alternative avenues for brands. Except, that is, for Goyard. Goyard is the anti-fashion fashion brand. It has long ago gone off the grid. From the beginning, way back in 1853, the French luxury house cultivated an under-the-radar mystique. Letting its pristine reputation for creating high-quality travel trunks and accessories in the noblest materials, crafted using techniques handed down through generations, to speak for it instead. Even today, the house rarely communicates about its privately owned business. Goyard actually has a policy of not giving interview requests to press, nor does it have an e-commerce division. Instead, the brand prefers to envelop its clientele in the world of Goyard via its six standalone boutiques (including its three maisons in New York, Paris and London), as well as through a handful of in-store boutiques at Neiman Marcus, Barney’s New York and Bergdorf Goodman, among other carefully vetted locations. The Goyard galaxy expands this November when its seventh boutique debuts at Bal Harbour. This steadfast conviction of exclusivity and discretion has not only kept the brand’s legacy safe, it has built up an almost insatiable desire in consumers to posses a piece of Goyard. So understated and evergreen are its designs, that owning one of the brand’s handbags, travel trunks or pet carrying cases is like the luxury accessories version of a secret handshake. The brand’s insider luxury seal has been in place since the 19th century, when the family owned company first came to prominence thanks to its impressive custom-made trunks, its exceptional attention to detail and its remarkable customer service. The Who’s Who of the past 162 years that have passed under the black and gold awnings of Maison Goyard on rue Saint-Honoré in Paris include Pablo Picasso, the Rockefellers, Coco Chanel, Estée Lauder, Edith Piaf, Karl Lagerfeld, Madonna and more recently Kanye West, Reese Witherspoon, Kate Moss and Princess Madeleine of Sweden. Once someone becomes a client of Goyard, the house is committed

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to retaining them. Lagerfeld opened his account back in 1972 and remains a satisfied customer. The Duke and Duchess of Windsor opened their account in 1939, only to close it out when the Duchess passed away in 1986. In fact, it was the ardent love of one collector of Goyard trunks that set off the brand’s current renaissance. For years Jean-Michel Signoles, who had made his first fortune by owning and creating the children’s fashion brand Chipie, had been amassing signature Goyard trunks by the hundreds—he discovered his first Goyard in 1974. When he sold Chipie he decided to turn his collecting into a new career and purchased Goyard in 1998. The brand could not have dreamt of a better guardian for the house’s codes and commitment to heritage. Today, Goyard still remains a family owned business. Signoles brought his sons Alex and Rémi on board to handle different aspects of the day-to-day running of the company and he set up state-of-the-art ateliers that cater to the artisanal needs of the company’s craftsmen in his hometown of Carcassonne, France. Under Signoles’ watchful eye, Goyard began to produce the house’s famed Goyardine pattern canvas again (which it had stopped after WWII.) He also introduced new color variations to the classic black shaded motif. In addition, Signoles has begun a tactical expansion effort. And there has also been a calculated growth of product lines that adapt to modern-day needs, including trolley (wheeled) luggage, weekend bags and the new Anjou tote bag, which debuted in July in Paris. The Anjou is the perfect example of Goyard’s listening to the needs of its customer base. It is the kissing cousin of the brand’s popular Saint Louis tote bag, but the Anjou is reversible. On one side, it features the house’s iconic chevron pattern, and on the other, a supple grained leather. The bag also comes with a handy pouch and luggage tag (the perfect spot for one’s initials). The stealth wealthy beauty of Goyard doesn’t scream luxury, it whispers it. Forcing you to lean in and get close. Goyard’s artisans like dreamers with unique demands, live for the challenge of a made-to-order design and for surpassing even the highest of expectations.

IMAGES COURTESY OF GOYARD

Above, the new Goyard boutique at Bal Harbour Shops; at right, trunks and travel accessories in the signature Goyardine outside The Plaza Athénée

Goyard does not have an e-commerce division. The brand prefers to envelop its clientele in the world of Goyard via its six stand-alone boutiques and, in November, a seventh boutique debuting at Bal Harbour.

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PLAYERS CLUB

This season, menswear takes a cue from the field, embracing sport and style. PHOTOGRAPHY BY FUMIE HOPPE STYLING BY SEPPE TIRABASSI

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Opposite: Prada jacket, 305.864.9111; Moncler sweater, 786.477.5343; Calvin Klein leather hat, available at The Webster, 305.868.6544; Chopard Grand Prix de Monaco Historique hronograph, 305.868.8626.

Bottega VenetaLim embroidered denim dress, at Saks 3.1 Phillip snap on vest, available 305.864.6247; Roberto Cavalli wooden lace-up wedge Fifth Avenue, 305.865.110; Fendi sweater, and 305.861.7114; lucite cuff, 305.865.1749; Max Mara bucket hat, Dolce & Gabbana trousers, available at Neiman Marcus, 305.865.6161. 305.866.0503; Adidas x Raf Simons sneakers, available at The Webster.

Versace cashmere and wool leggings, 305.864.0044; Salvatore Ferragamo wool sweater, 305.866.8166; Adidas x Raf Simons sneakers, available at Addict, 305.864.1099; Miansai cuff, available at The Webster, 305.868.6544. 204 BAL HARBOUR

Canali coat, 305.868.3456; Bottega Veneta sweater and corduroy pants, 305.864.6247; Vilebrequin swim trunks, 305.861.4022.

Dolce & Gabbana jacket, 305.866.0503; Chopard Superfast Power Control watch, 305.868.8626; Versace cashmere sweater, 305.864.0044. Calvin Klein parka, sweater and Miansai cuff, available at The Webster, 305.868.6544; Vince leather shorts, 305.351.0327; Adidas x Raf Simons sneakers available at Addict, 305.864.1099.

Burberry bomber jacket, available at Neiman Marcus, 305.865.6161; Vince raglan sweatshirt, 305.351.0327; Miansai necklace, available at The Webster; Chopard Grand Prix de Monaco Historique Chronograph.

Ralph Lauren jacket, cashmere sweater and athletic pants, 305.861.2059; Chopard Grand Prix de Monaco Historique Chronograph watch, 305.868.8626; Adidas x Raf Simons sneakers available at The Webster, 305.868.6544.

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Gucci coat, 305.868.6504; DSquared2 denim jacket, 305.866.7880; Valentino sweater,studded available at Neiman Marcus, Givenchy leather and Chantilly lace 305.865.6161; Brunello Cucinelli sleeveless dress, available at Neiman Marcus, drawstring sweatpants, 305.864.4833; 305.865.6161; Alexis Bittar cuff, available at Adidas x Raf Simons sneakers, Saks Fifth Avenue, 305.865.1100. available at Addict, 305.864.1099.

Photographer: Fumie Hoppe Stylist: Seppe Tirabassi/Altered Agency Photographer Assistant: Ian Hoogenboom Hair: Amy Chin Makeup: Akiko Owada Model: Laurin Krausz/DNA Management

WILD CHILD This Fall is about making big moves in bold prints. Model Nina Agdal shows us how. PHOTOGRAPHY BY DEAN ISIDRO 208 BAL HARBOUR

STYLING BY SARAH GORE REEVES

Diane Von Furstenberg dress, available at Saks Fifth Avenue, 305.865.1100; Giuseppe Zanotti ear muffs, 305.868.0133.

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ChloĂŠ cashmere poncho and patchwork pants, 305.861.1909; Bottega Veneta silk crepe blouse, 305.864.6247; Graff double hoop earrings and Bombe ring, 305.993.1212.

Chanel tweed jacket, skirt, blouse and necklace, 305.868.0550; Dolce & Gabbana earrings, 305.866.0503; Charlotte Olympia Dali clutch, 305.868.1858.

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Dolce & Gabbana dress, 305.866.0503; Bottega Veneta wool coat and metallic pump, 305.864.6247.

Salvatore Ferragamo coat, 305.866.8166; Etro jumpsuit, 305.868.5971; Charlotte Olympia Eileen booties, 305.868.1858; Dolce & Gabbana bag, 305.866.0503.

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Emilio Pucci printed dress, available at Saks Fifth Avenue, 305.865.1100; A-Morir sunglasses, available at The Webster, 305.868.6544; Wendy Yue yellow gold opal ring, available at Neiman Marcus, 305.865.6161; Graff bracelet, 305.993.1212.

Gucci wool coat, 305.868.6504; Prada dress, 305.864.9111; Charlotte Olympia Winky shoes, 305.868.1858; Wendy Yue emerald ring and rose earrings with champagne diamonds, available at Neiman Marcus, 305.865.6161.

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Bally silk blouse; Bottega Veneta print pant, 305.864.6247; Etro bag, 305.868.5971; Dolce & Gabbana brass ring, 305.866.0503, Rolex watch, available at Tourneau, 305.866.4312. Photographer: Dean Isidro/Atelier Management Fashion Director: Sarah Gore Reeves/Altered Agency Photographer Assistant: Anders Wallace Stylist Assistant: Seppe Tirabassi Hair: Felix Fischer/Factory Downtown Makeup: Eric Polito/Art Department Manicurist: Fleury Rose/Bryan Bantry Producer: Elizabeth Rundlett/A + Productions Tech: Maxwell Mason Model: Nina Agdal/Elite Management

MAKING CASHMERE COOL Textile rogue Greg Chait is breaking all of the rules with the Elder Statesman— and is earning a cult following every step of the way. BY DEGEN PENER

PORTRAIT BY DAVID MUSHEGAIN

For someone who makes some of the most comfortable cashmere sweaters on the planet—and plenty of other soft luxurious items, including blankets and accessories, that make you want to curl up and never leave the house—you’d think Greg Chait would be a homebody. To the contrary, the Los Angeles-based designer behind the Elder Statesman lifestyle brand says he’s been on 70 airplanes in the first seven months of 2015 alone. That’s what happens in an increasingly global fashion industry when you have an 8-year-old company with a cult following that’s now sold in more than 80 stores worldwide, and you’re constantly on the lookout for the latest and finest yarns because you’ve recently built your own in-house factory. But it’s also what happens when you are a free-spirited, instinctdriven creative-type like Chait. “I might be in Italy next week. I don’t know,” says the handsome, amiable 37 year old, who sports a bushy black beard and stylish glasses. A recent schedule included Normandy to attend a wedding, Istanbul for a trunk show, Ibiza (“stayed there for 40 hours”), Paris for three days of meetings and two business trips to New York (with 48 hours home in L.A. in between.) “That’s how fast it all moves. I love the spontaneity of it,” says Chait. Some nights, when he gets back to LAX airport late and has an early morning appointment at his headquarters in Culver City, he’ll just sleep on a floor mat in his office—with an Elder Statesman blanket, of course. “I’m not precious,” he says. “I don’t need to go home just to go home. I don’t get the point.” Chait’s brand of cashmere—almost his entire line is cashmere—is informed by that same kind of no-rules energy. He’s taken the traditional wool fabric and made it feel like a bitchin’ denizen of Malibu, from patchwork quilt ponchos and tie-dye pullovers to woven cashmere overalls and cozy knitted smoking jackets. Fashion consultant Katherine Ross, who has worked with such brands as Prada and Balenciaga (and is the wife of LACMA Director Michael Govan), says she was first drawn to the brand by a sweater Chait designed with palm trees on it that “epitomized this kind of wonderful thing I love

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about California style, which is hip without being trendy and has a sense of ease and real integrity.” Chait—who grew up in a suburb of Phoenix and early on had no ambitions to be a designer—lives that life himself. He recently bought a 1960s trailer home in Malibu that he’s fixed up, though not too much; he didn’t want to diminish the retro vibe. “If there’s a wave, I surf. I hang out with friends. Run, chill,” he says. His weekend house (his main home is in Beverly Hills), he admits is slightly tilted ever since a massive dance party on July 4th. “I may just leave it like that to always remind me of that party,” he says. But hand-in-hand with his good-vibes demeanor, Chait—who won the coveted CFDA/Vogue Fashion Fund’s $300,000 prize and a year of business mentoring in 2012—has built a remarkable business with a vertical infrastructure and backing from luxury L.A.-based jewelry and apparel brand Chrome Hearts. During a tour of his offices and factory, which have close to 40 employees, he proudly shows off where hundreds of spools of the finest-quality yarn are kept, the artisans (who have full health insurance and are paid a salary as opposed to by the piece), the handlooms and the fulfillment office. Even the parking lot is in use; a few recently dyed pieces are drying in the California sunshine. Having everything all under one roof allows him the spontaneity he lives for. “If I have an idea, I have the facilities to make it happen quite quickly,” says Chait, who recently opened his first store on a small side street in West Hollywood. If an art project comes his way, he’ll jump on it. Around 20 percent of his business is custom; mainstay items like his striped sweaters can be personalized with up to hundreds of color combinations. Chait works so closely with stores that each order is almost a capsule collection in itself. In Bal Harbour, he’s available at The Webster, with whom he did a collaborative collection last year of tees imprinted with the names of cities located near the Coachella music festival. Ross, who often pairs Chait’s sweaters with say, a Louis Vuitton skirt, says the label isn’t just for the bohemian. “It’s a real luxury brand,” she says. L.A-based jewelry designer Jennifer Meyer, who met Chait when they competed for the CFDA/Vogue Fashion Fund prize, is also a fan. “I have my own company and the majority of the gifts I give are Elder Statesman,” she says. “It’s the most beautiful cashmere.” So while it may be impossible to know where Chait is on any particular day—he says he doesn’t have an assistant who handles his calendar because “their head would explode”—finding the craftsmanship and quality in his clothes is always a given. “The idea is to have something that has a soul,” says the designer. “It’s hard to copy soul, you know?”

Looming Large Elder Statesman designer Greg Chait introduces cashmere to the casual luxury market, stitching together premium materials and expert craftmanship for pieces youâ&#x20AC;&#x2122;ll want to live in.

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SHELF LIFE When a library full of paperbacks just wonâ&#x20AC;&#x2122;t do, collectors of the printed page turn to curators for a bespoke book experience. BY MARK ELLWOOD 220 BAL HARBOUR

PHOTO BY TOMMO

Heywood Hill created this bespoke library for jeweler Jessica McCormack in her London townhouse.

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he art world has long relied on seasoned, discreet advisers to help collectors build intelligent holdings that reflect their personal passions. In publishing, a similar service has emerged from a cadre of high-end experts around the world: bespoke book buying. A well-read wrangler will handpick titles for a client’s custom library that reflects their particular—be it oenophile, architecture geek or equestrian obsessive— before carefully installing the volumes at the client’s home or office. It’s a rarefied skill, a throwback to the 19th century, when the contents of a wealthy man’s library flagged his education and sophistication. “There’s a bit of a backlash against the ubiquity of digital life,” says London bookseller Nicky Dunne. “There’s something refreshing about opening a book, and spending some time in a library; it’s a very stimulating place to be.” We spoke with three bespoke booksellers about their services and experiences. HEYWOOD HILL, LONDON Heywood Hill owner Nicky Dunne’s most elaborate private library commission (so far) happened by chance—it was thanks to a spontaneous decision by Nina Flohr, daughter of VistaJet founder Thomas Flohr, to walk into his small bookshop nestled in London’s tony Mayfair. Her father hired Dunne, one of London’s most respected booksellers, to build a 3,000-strong bespoke collection that examined how Modernism defined the arts of the 20th century, then asked him to ship the entire haul to the family’s Swiss home and install it in situ. Dunne estimates he’s tapped to build up to 15 private libraries like this each year. He charges nothing more than the retail price and shipping. With each client, he first holds a preliminary briefing to discuss and spec the project, before scouring shelves for titles. For jeweler Jessica McCormack, this involved sourcing books on two disparate topics: her twin passions of riding and gemstones. Dunne says that almost one-third of his custom customers are stateside. “We just put 300 books into a property in the Hamptons, a nice selection of classic English children’s books. I think the client was fed up with the glossy, boring content-light books she saw in every one of her friends’ houses.” JUNIPER BOOKS, BOULDER, COLORADO Thatcher Wine began selling rare books as a hobby, moonlighting from his day job as a startup CEO in 2001. After he was left unemployed by the bursting tech bubble, Wine ditched dot coms for first editions of Charles Dickens without regret. Since then, the bookseller has overseen more than 150 custom

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libraries, personally steering the service by flying to meet with clients, learning their hobbies and consulting with interior designers and developers over installation (Juniper-curated libraries cost between $150 and $750 per foot). One satisfied client is Wine’s childhood pal, Gwyneth Paltrow, whose libraries at her homes in New York, Los Angeles and London he’s created. Wine is known for his nimble resourcefulness, as when another client called in a panic. “She said, ‘I went to high school with this author, who is coming to visit me and I haven’t seen her in 20 years. I have to pretend I’ve read all her books—can you get me copies that look like they’ve been read?’” Wine sourced second-hand books that were especially battered. Juniper’s services also include jacket design, where he creates custom covers for books. A specialty of Juniper’s involves turning a library wall into one giant photograph pieced together across the spines of the books. “It transforms the shelves into a quirky artwork, like the wall-sized image of the Brooklyn Bridge devised for one New York-based client. His other rooms have Picasso and Damien Hirst, and the library has a unique photograph spanning the shelves,” says Wine. ARTBOOK, NEW YORK CITY The aptly named Artbook is the foremost specialty distributor of art and design books stateside, running the bookshops of New York City’s MoMA PS1 and the Walker Art Center in Minneapolis, among others. Collectors keen to ensure their library is of the same caliber as the artwork on their walls can tap the publisher’s services to build one. Whether a client wishes to build a general art book library or one that focuses on a particular subject, Artbook builds to suit. One installation, according to the company’s Luke Brown, was a $20,000 project in a penthouse duplex loft in Soho, New York, which ran 30 feet along one wall. The titles were chosen to reflect the client’s passions—a nod to his watch collection with a copy of the limited edition “Patek Philippe Steel Watches,” and a design title referencing the apartment’s Donald Judd shelves. “The client loved the selection so much, he asked us to install a second, smaller library valued at about $5,000 in his bedroom,” says Brown. Artbook specializes in recently published works. The company is also able to source out-of-print and rare art, photo, design and architecture books, as well as artist’s books and limited editions via its close links with dealers such as Los Angeles-based Arcana. The minimum charge for custom work is $2,500, for which Artbook’s offers a starter library—say 75 or so books—on a client’s key passions that can form the core of his or her collection.

PHOTO COURTESY OF JUNIPER BOOKS

With Juniper Books, Thatcher Wine has overseen more than 150 custom libraries, personally steering the service by flying to meet with clients, learning their hobbies and consulting with interior designers and developers.

Juniper Books curated this color-coded library for a private client in Los Angeles.

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George Balanchine’s one act

Swan Lake

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The 30th Anniversary Season features four Company Premieres including the reimagining of George Balanchine’s A Midsummer Night’s Dream. Plus audience favorites Swan Lake, Jerome Robbins’ Fancy Free and more from today’s leading choreographers.

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Tricia Albertson in Swan Lake, choreography by George Balanchine © The George Balanchine Trust. Photo © Alberto Oviedo. Major funding for Miami City Ballet is provided by a New Works Grant from the John S. and James L. Knight Foundation and by the Ford Foundation. MCB performances, outreach and education activities are made possible by the generous support of National Endowment for the Arts: Art Works, The Shubert Foundation, Louis B. Mayer Foundation, and The Miami Foundation. The Company is sponsored in part by the State of Florida, Department of State, Division of Cultural Affairs, and the Florida Council on Arts and Culture. Miami-Dade County support is provided by Miami-Dade County Department of Cultural Affairs and the Cultural Affairs Council, the Miami-Dade County Mayor and Board of County Commissioners with additional support provided by the City of Miami Beach, Cultural Affairs program, and the Cultural Arts Council.

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Top Shelf

Stock up on these stylish tomes.

IMPOSSIBLE WARDROBES While it may be impossible to get your hands on the ephemeral wardrobe as imagined by Olivier Saillard and interpreted by Tilda Swinton, this tome—part exhibition catalog and part art object—is yours for the taking. Relive Swinton’s sold-out performances from the 2012 Autumn Festival in Paris and Saillard’s expertly curated exhibitions in this exploration of fashion’s conceptual reach. (Rizzoli)

The fashion calendar with a cult following is back in a retrospective volume capturing five decades of top models shot by the industry’s best photographers. Iconic images of Sophia Loren, Gisele Bündchen, Naomi Campbell, Heidi Klum, Cindy Crawford and more—captured by the likes of Karl Lagerfeld, Inez van Lamsweerde and Vinoodh Matadin, Herb Ritts, Mario Testino and Bruce Weber— make this edition the ultimate collector’s item. (Taschen)

HIROSHI SUGIMOTO: THE LONG NEVER As if a special-edition book containing 65 artworks by Hiroshi Sugimoto wasn’t enough, Jonathan Safran Foer has written an original story to accompany the striking blackand-white photographs of “The Long Never,” which arrives wrapped in silk cloth and housed in a custom-made brushed aluminum slipcase. Limited to 360 copies, each editioned book is signed by the artist. (Damiani/Matsumoto Editions)

SIBYLLE BERGEMANN

Famed German photographer Sibylle Bergemann was born and raised in Berlin, where she explored an interest in portraiture by capturing the mundane with a sense of intimacy. In the first English-language monograph of Bergemann’s work from the 1970s and ‘80s, international journalists, editors, curators and art historians reflect on the farreaching influence of the visionary photographer. (Osmos Books)

Matthew Brookes: Les Danseurs In his first book, photographer Matthew Brookes continues the long affair between fashion and dance, documenting the top male ballet dancers of Paris. Over the course of one year, Brookes photographed the men in a raw space in which they were allowed to explore the physicality of dance in its purest form. Brookes asked the dancers to interpret birds falling from the sky with the raw material of their bodies; their interpretations will astound you. (Damiani) 230 BAL HARBOUR

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FRENCH TWIST Carlyne Cerf de Dudzeele, celebrated French stylist—and champion of the high/low mix—sits down with Lynn Yaeger to discuss noisy jewelry, thinking with your stomach and Miley Cyrus.

hen I met French stylist Carlyne Cerf de Dudzeele for coffee, she was wearing jeans, a button-down shirt, a pair of flower festooned pink flip-flops and her trademark: cascades of gold chains around her neck and her wrists. The legendary stylist, who is known for her frank talk and her infallible eye, grew up in Saint-Tropez and began her career at French Elle in 1977. In 1985, de Dudzeele moved to New York to become the fashion director of Vogue, where she styled Anna Wintour’s first cover in 1988—model Michaela Bercu wore a Christian LaCroix couture top and stonewashed Guess jeans. De Dudzeele’s charming, if sometimes indecipherable accent, her lapse into cheerful profanity and her famously florid pronouncements makes for a one-of-a-kind interview.

After so many years in the business, what is most important to you about your job? If it’s not fun I don’t do it! I hate all this brainstorming. “You think this? You think that?” I have to be inspired. Everything from the stomach! I am lucky I was born with this talent in me. What is your process? I have a passion. I start, and then I let it go. If you have a Porsche, you let the Porsche go. And I still work like this; I do everything myself. I don’t have 20 assistants. I never trust anyone. I see things they don’t see. I take things from the street, and I love to travel, too. My eyes are wide open—I watch everything! What would you be doing if you didn’t have your current métier? Something in music—I used to play piano. But it was always fashion, of course—and I didn’t want to study.

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What was your first job? Working with French Elle. At that time, everything was fake. Fake fur. Fake hair. Did you like that? Yes. But I always mixed everything. I don’t like copying. I always mixed fake with real. I did this all my life, and I was the first one to do it. I never do a Chanel look straight off the runway—I put it with jeans or a jean jacket. I do it for myself, too. Who do you enjoy working with most? Steven Meisel. He is the best photographer. He knows what a photograph is. He knows what makeup is. He can do everything. You learn from him. Who else? I loved working with Irving Penn. I am so happy to have known him. His studio was the smallest thing in the world. It was so simple. Simplicity is the chicest thing in the world.

What makes a woman chic? It’s about personal style, not labels. It’s all about mixing to be glamorous and sexy. When I do my own “salad,” I always mix the white shirt—the classic thing—with jeans, a man’s Rolex with Manolos and a classic Hermès or Chanel bag, or a classic Louis Vuitton. Is there a celebrity whose style you admire? I love Miley Cyrus! I work with her a lot; she’s smart. She knows I love animals, so when we meet, she brings a pig! What do you do when you are not working? I watch TV—the news—and I cook. I go to the Union Square Greenmarket every Saturday at 7 a.m. I am obsessed! Do you go to flea markets, too? No. I have too many things now. I have collections. I have 20 pairs of the same shoes—I have Azzedines that are 30 years old. I keep everything. Who are some of the designers you most admire? I love the 1980s, especially Versace and my dear friend Azzedine Alaïa. And Hedi Slimane at Saint Laurent, because I think it’s classic. You can’t tell the difference with his clothes between the runway and life; and this is what a young girl likes. And I love the last Prada collection—the pink neoprene—and Ralph Lauren. I am obsessed with the Polo Ralph Lauren store on Fifth Avenue. I just bought the nylon jacket that comes in the little bag in eight colors. J’adore. Are you ever without your jewelry? No. I am still obsessed with jewelry. The noise it makes—the noise! The big Cartier Trinity bracelet—I have three—one new and two vintage. And I am obsessed with the Rolex President covered with diamonds. I go jewelry shopping with Victoire de Castellane, creative director of Christian Dior’s fine jewelry division. She has the passion, too.

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Breguet, the innovator. The Marine 5827 chronograph

Having become a member of the Board of Longitude in Paris in 1814, Abraham-Louis Breguet was appointed Horologer to the French Royal Navy by Louis XVIII the following year. This prestigious title, embodying exceptional scientific competence, is now perpetuated through the Marine collection and the Marine 5827 chronograph, which features a central chronograph minutes and seconds. History is still being written...

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