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Watch in white high-tech ceramic set with 54 diamonds (~1.4 carat). Self-winding mechanical movement. 42-hour power reserve. Water-resistant to 50 meters.
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contents FALL/WINTER 2012
Diane Von Furstenberg leather-andlace jacket and skirt, 305.865.1850; La Perla lace bodysuit, 305.864.3173; Pomellato earrings, necklace and pendants, 305.866.1225.
CONTRIBUTORS Our contributors share what they’re coveting this fall.
36
SEASON OF STYLE What the fashion world is excited about, from Paris to Hong Kong.
40
ANDRE LEON TALLEY The fashion influencer takes on the Little Black Dress at the Savannah College of Art and Design.
42
FEMME FATALE From shop to shoe, Sarah Burton’s new direction for Alexander McQueen ushers in an era of romance without dulling its edge.
46
YOUNG AMERICANS Cushnie et Ochs, Ohne Titel, Joseph Altuzarra and Eddie Borgo define the next generation of American designers.
54
MODEL CITIZENS Showing their inner beauty through charitable works and private foundations, these seven models are proving that looking good and doing good go hand in hand.
22 BAL HARBOUR
ON THE COVER
PHOTO BY SATOSHI SAÏKUSA (TOP)
30
LEFT: Constance Jablonski wears a sheer gown by Gucci, 305.868.6504; Van Cleef & Arpels gold flower ring with diamonds, 305.866.0899; Chopard silver cluster ball ring, 305.868.8626. RIGHT: Jablonski wears an Alexander McQueen leatherand-pony-hair dress, 305.866.0311; Van Cleef & Arpels gold cuff; Tom Ford gold barbed wire cuff, available at Neiman Marcus, 305.865.6161. Photographed exclusively for Bal Harbour Magazine by Benny Horne; styled by Deborah Afshani/Art Department; photographer's assistants: Stef Mitchell and Bec Lorrimer; stylist's assistant: Mayme Stansfield; hair by Shin Arima/Frank Reps; makeup by Chico Omae/Frank Reps; model: Constance Jablonski/Marilyn Model Agency
An illustration by JeanPhilippe Delhomme from “Illustrator Debonair.”
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ILLUSTRATOR DEBONAIR Jean-Philippe Delhomme steps out of the shadows and into the art-world spotlight.
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STYLE DIARY Four influencers in fashion and design share their personal style and their looks for fall.
70
WITH A TWIST Once a design of function over form, today’s scarves are fashion-forward pieces.
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DOWN FROM THE MOUNTAIN Moncler’s feather-weight ski designs find a home on the streets.
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NET GAINS Just like in fashion, the art world is taking to the Web to dialogue with its clients. Paddle8 co-founder Alexander Gilkes lets us in on the conversation.
80
NEW MINIMALISM Two of fashion’s most storied houses have new designers at their helms, and with them comes a fresh attitude and approach to streamlined luxury.
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MAGNIFICENT OBSESSION Pier Luigi and Sergio Loro Piana travel to the ends of the earth in their search for fine fibers.
24 BAL HARBOUR
A one-of-a-kind precious stoneand-diamond bracelet from Bulgari's High Jewelry Collection.
ILLUSTRATION BY JEAN-PHILIPPE DELHOMME
contents
BAL HARBOUR SHOPS 305.861.1515
contents
Versace dress, 305.864.0044; Lanvin heels, 305.864.4254; Elsa Peretti for Tiffany & Co. cuff and earrings, 305.864.1801.
126 BÉBÉ ON BOARD
A rendezvous in Paris is the perfect excuse to step out in the season’s sexiest looks—even if you’re accessorizing with a pram. Photography by Satoshi Saïkusa
140 DOUBLE TAKE
All dressed up with nowhere to go? Not in one of these eye-catching looks. Photography by Tesh
152 POWER FORMS
What better place than a private beach to strike a pose in the season’s standouts? Photography by Greg Lotus
164 RED WITH ENVY
Looking for some extra attention this season? Try turning up the heat with fall’s fiery shades.
Doutzen Kroes at the CR launch at The Frick Collection in New York.
Photography by Cameron Krone
Trevor Neilson is determined to change the landscape from event-driven charities to long-lasting endeavors. 196 TABLES TURNED
Julia Reed explores how the culinary landscape has changed with the rise of New American cuisine and the branding of star chefs around the country. 200 READING LIST
Fall’s must-read titles, from vintage fashion to inspired design. 202 FASHION FÊTES
Partying around the world with Bal Harbour’s brands. 26 BAL HARBOUR
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PHOTOS BY GREG LOTUS (TOP LEFT); BILLY FARRELL/BFANYC.COM (KROES)
192 CHARITY CASE
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Welcome Note
Publisher/Editor in Chief Sarah G. Harrelson
Publisher/Creative Director Carlos A. Suarez
Publisher/Creative Director Carlos A. Suarez Publisher/Editor in Chief Sarah G. Harrelson Executive Editor Tali Jaffe Fashion Director Deborah Afshani Editorial Assistant Zoe Sawka Contributing Writers Kate Betts, Bee-Shyuan Chang, Jennifer Condon, Rachel Felder, William Kissel, Alexandra Marshall, Brandon Palas, Julia Reed, Jill Spalding, Lynn Yaeger Contributing Photographers Cameron Krone, Benny Horne, Greg Lotus, Ben Ritter, Satoshi Saïkusa, Tesh Contributing Ilustrator Si Scott Copy Editors Falyn Freyman, Gregg Lasky, Robin Shear Interns Margarita Boulton, Lina Chaparro, Rasheia Harris Digital Imaging Specialist Matt Stevens Director of Sales and Marketing Valerie Graves Account Services Joe Brennan Chief Executive Officer Mike Batt Sarah Harrelson and Carlos Suarez at 100% Capri.
PHOTO BY SETH BROWARNIK
g
lamour has never been a problem for our cover girl Constance Jablonski. The French model who first strutted down the runway in 2008 during New York Fashion Week, and has since graced numerous Vogue covers all over the globe (China, Germany, Portugal, Greece, Spain and Russia, to name a few). In 2010 she solidified her place in the great model canon with a coveted beauty campaign as one of the faces of Estée Lauder, alongside other titans of the industry including Liu Wen and Joan Smalls. For her first Bal Harbour cover, a fresh-faced Jablonski epitomized effortless glamour in a sheer black Gucci gown. For our second cover, she proves that Alexander McQueen’s Sarah Burton is hitting all the right notes sporting a leather-and-pony-hair dress straight off the runway. In fact, the red-hot fashion label, recently opened another U.S. flagship store (following New York and Las Vegas) at Bal Harbour, where they are carrying the impossibly chic, but hard-to-score runway looks. Read Paris-based writer Alexander Marshall’s insightful look at the brand, "Femme Fatale." Speaking of Paris, we did our first fashion shoot there this summer, where the seasoned lensman Satoshi Saïkusa collaborated with stylist Yasmine Eslami to showcase some of the most seductive looks of the season (don’t miss the leather jumpsuit from Valentino). Also in this issue, Kate Betts, Harper’s Bazaar’s former editor in chief, takes a look at YSL (now rebranded as Saint Laurent Paris) and Dior, two fashion houses with new personalities at their helm, in "New Minimalism," which deftly examines how these directional shifts will significantly change the fashion landscape. Also altering that very landscape is a new crop of talent chosen by powerhouse writer Lynn Yaeger who interviewed the buzzed about brands in her piece, “Young Americans.” If you don’t know their names yet, trust us, you will soon. Last but certainly not least, don’t miss our "Style Diary," where the style elite share their best fall finds—and their travel and culture ideas. It's the perfect section to tear out and stash in your purse and head to Bal Harbour armed with inspiration. We hope you enjoy this issue and—in the spirit of our cover girl—have a glamour-filled fall!
BAL HARBOUR SHOPS
DVF. COM
Contributors Our contributors share what
YASMINE ESLAMI
they are coveting this fall... LYNN YAEGER
Born and raised in Paris, Yasmine Eslami studied fashion at the Studio Berçot in Paris and then moved to London, where she worked for Vivienne Westwood for a number of years designing the Red Label collection. After moving back to Paris more than a decade ago, Yasmine joined the team at Purple Fashion magazine and has contributed to such publications as Vogue Nippon, i-D, L’Officiel, GQ, Elle and Tank where she’s worked with photographers such as Olivier Zahm, Serge Leblon, Jack Pierson, Ellen von Unwerth, Bettina Rheims and Juergen Teller, among others. She has also recently launched a debut collection of lingerie.
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, The New York Times T magazine, Travel + Leisure and the Sundance Channel’s Full Frontal Fashion website.
MARY ALICE STEPHENSON
BEE-SHYUAN CHANG
New York-based writer Bee-Shyuan Chang has contributed to The New York Times, Harper's Bazaar, W and Fast Company. Once a hedge-fund lawyer, Chang is now much happier treading the exciting waters of fashion, beauty and travel. She lives with her husband in the West Village, where she makes a mean and minty mojito. She has yet to master the perfect martini.
“I am coveting a perfect fall weekend. On Saturday, I would lace up my Asolos and go for a hike. The leaves would be changing and the weather crisp and delightful. Then, in an ideal world, I would spend all day Sunday in Miami at the Soho Beach House spa. I'm a huge fan of Cowshed products. And the sports massage there is divine!” 30 BAL HARBOUR
One of the world’s most sought-after beauty and style experts, Mary Alice Stephenson is widely regarded as one of the most well-versed and knowledgeable commentators covering the latest trends in fashion. She’s appeared on The Dr. Oz Show, Rachael Ray and the Today show. Throughout her career, Stephenson has worked as fashion editor and fashion director for several leading magazines.
contributors SATOSHI SAÏKUSA
ALEXANDRA MARSHALL
Alexandra Marshall is a contributing editor at Travel + Leisure and writes for W, Harper’s Bazaar and The Wall Street Journal, among others. Since 2006, she has been based in Paris, where she does whatever she can not to sound too much like a damned yanqui.
Self-taught photographer Satoshi Saïkusa arrived in Paris in 1984 and began learning photography by taking snapshots. His series of portraits of “people with hats” led to fashion magazine collaborations with Vogue Paris, Numéro, Harper’s Bazaar and GQ UK. He’s also shot numerous ad campaigns for Estée Lauder, YSL Fragrances & Beauty, Shiseido, Rochas, Nina Ricci and Lancôme. His interest in portraiture has enabled him to shoot the likes of Monica Bellucci, Angelina Jolie, Juliette Binoche, Kiera Knightley, Sofia Coppola, Laetitia Casta and Vanessa Paradis. In 2010, Saïkusa opened an art gallery in Saint-German-des-Prés called Da-End.
“I’ve recently seen the coat of my dreams at L’Eclaireur in Paris: Anne Valéria Hash, raglan sleeves, black wool crepe and felt, with a dropped tuxedo lapel. Kill me now.”
JULIA REED
Ben Ritter is a Brooklyn-based portrait and fashion photographer. He regularly shoots for Glamour and Vice magazines, as well as special projects for Estée Lauder and Clinique and recently covered backstage at the Derek Lam and Karen Walker Spring 2013 runway shows.
BEN RITTER
32 BAL HARBOUR
“I tend to wear either black or gray T-shirts but I just discovered a royal blue, extra soft tee at American Apparel that I want to wear every day. It’s the perfect complement to my go-to APC black jeans.”
Julia Reed is a contributing editor at Newsweek, where she writes the “food and drink” column, creative director of taigan.com and editor of the site’s magazine, Fetch. She is a contributor to Garden&Gun, Conde Nast Traveler, Elle Décor, The New York Times and Vogue, where she was a senior writer for 10 years. She is also the author of three books, most recently, Ham Biscuits, Hostess Gowns, and Other Southern Specialties: An Entertaining Life (with Recipes).
“If I were a very lucky girl, I'd be carrying a metal frame lizard clutch from The Row under my arm. I covet pretty much everything from The Row's fall and resort collections, but that purse is perfect—and eternal.”
BAL HARBOUR SHOPS 305.868.2113
contributors
KATE BETTS
SI SCOTT
JILL SPALDING Jill Spalding began her magazine career in London as literary editor of UK Vogue before becoming features editor there. She served as contributing editor for Frank Magazine, Vogue, Australian Vogue and UK Vogue, writing about art, health and current events. In New York, Jill launched an Internet radio show for PS1-MOMA on WPS1.org, now Art Internet Radio, called Miami on My Mind, which focuses on the Florida art scene. She freelances for several magazines, has written two books—Only the Best, a history of gift-giving in America, and Blithe Spirits, a history of cocktails—and is finishing a third, The History of Luxury.
Kate Betts is a contributing editor at Time magazine and, until 2009, was also the editor of Time Style & Design, a special supplement to the magazine. Previously, Betts was editor in chief of Harper’s Bazaar and the fashion news director of Vogue. She is the author of the book Everyday Icon: Michelle Obama and the Power of Style.
“This fall I’m coveting the Céline Trapeze bag in a gorgeous trio of colors like burgundy, navy and khaki. And also a pair of Manolo Blahnik pumps—classics!”
“A sane election and black cashmere socks.”
Deborah Afshani is a fashion stylist who calls Los Angeles and New York City home. Her work regularly appears in Vogue Italia, L’Uomo Vogue and W Asia, among other publications. Part French and part Iranian, Afshani draws inspiration from her multicultural background, her love of literature and film and everything and everyone she encounters.
“I'm super excited about new dresses in fun prints and beautiful, simple whites and blacks. Also, a new Céline bag with a pop of Yves Klein blue.” 34 BAL HARBOUR
DEBORAH AFSHANI
PHOTO BY ALEXIS BROOKS (AFSHANI)
Si Scott is a full-time artist, designer and creative consultant based in the U.K. He’s renowned for his unique style, blending handcrafted and handdrawn artwork, which has gained him numerous awards. He has completed projects for Matthew Williamson, Vogue, Nike, Adidas, Tiffany & Co. and Sony, among others. Scott is currently a visiting lecturer at both the University of Huddersfield and Leeds College of Art & Design and has lectured and exhibited his work at institutions in Tokyo, New York, Brazil and Sydney.
A NEW STAGE FOR FASHION
Valentino Garavani working in the New York City Ballet costume shop.
Models wearing Chloé in French Vogue, February, 1979; right, an illustration by Sandra Suy of a look from Clare Waight Keller’s Spring 2012 collection.
SIGNORE GARAVANI, KNOWN SIMPLY AS VALENTINO, MAY HAVE RETIRED FROM DESIGNING HIS NAMESAKE LINE, BUT THE MASTER COUTURIER COULDN’T STAY AWAY FOR LONG—HE IS, AFTER ALL, A PERFORMER. THIS FALL, HE’S TAKING HIS LEGENDARY SKILLS FOR A SPIN ON THE STAGE AT LINCOLN CENTER AS HE CREATES COSTUMES FOR THREE WORKS BY NEW YORK CITY BALLET’S PETER MARTINS. JANUARY 24-27.
CLOSET SPACE
CHLOÉ 60TH ANNIVERSARY
Chloé’s founder Gaby Aghion
36 BAL HARBOUR
“Chloé. Attitudes,” an exhibition at the Palais de Tokyo in Paris through November 18, traces the history of a company renowned for its delicate balance of youthful femininity. The pret-a-porter maison will re-issue 16 of the most iconic pieces from its archive, including Karl Lagerfeld’s Violin dress (S/S 1983), Stella McCartney’s pineapple-print T-shirt (S/S 2001), Phoebe Philo’s Paddington bag (S/S 2005) and Hannah MacGibbon’s cape and leather shorts (A/W 2009). The pieces will be available at Chloé boutiques in February 2013.
As part of Paris’ Festival d’Automne, Tilda Swinton stars in The Impossible Wardrobe, a performace where Swinton studies garments held within the archives of the Musée Galliera.
PHOTOS BY PAUL KOLNIK (VALENTINO); © THE ESTATE OF GUY BOURDIN/ ART + COMMERCE (CHLOE); OLIVIER SAILLARD (SWINTON); PETER LINDBERGH (CHRISTENSEN); © PETER ASHWORTH (JONES)
SEASON OF
STYLE
What the fashion world is excited about, from Paris to Hong Kong. BY REBECCA KLEINMAN AND BRANDON PALAS
Stephen Jones
Helena Christensen, El Mirage California, 1990, by Peter Lindbergh
HATS OFF “Hats: An Anthology by Stephen Jones,”
PETER LINDBERGH Peter Lindbergh's "Known and 'The Unknown'" at Galleria Carla Sozzani in Milan exhibits the fashion photographer’s provocative works within the juxtaposed themes of terrestrial and otherworldly. Through November 4.
PURPLE REIGN
IS THE COLOR OF THE SEASON WITH DESIGNERS TURNING OUT LOOKS FROM HEAD-TO-TOE SINGLE SHADES AT LANVIN AND LAYERS OF THE ROYAL HUE AT TORY BURCH.
Tory Burch
Carolina Herrera
organized by the Victoria & Albert Museum of London, is now on view at the Peabody Essex Museum in Salem, Massachusetts. The exhibit showcases more than 250 hats created over the last 900 years. “Hats are the cherry on the cake, the dot on the I, the exclamation mark,” says Stephen Jones, the British milliner to the stars who has styled everyone from Boy George to Princess Diana. “They’re the crowning expression of personal style atop the head.” Through February 3.
Saskia De Brauw photographed for The Little Black Jacket
Lanvin
Giorgio Armani
ROMANCING THE DARK SIDE
Prada
Gucci
Valentino creative directors Maria Grazia Chiuri and Pierpaolo Piccioli’s Noir capsule collection combines Valentino’s graceful lines with studs and tough textures. “We wanted to create something that was feminine and romantic with a darker edge,” says the duo.
THE LITTLE BLACK JACKET Due out this fall, The Little Black Jacket: Chanel’s Classic Revisited, a book by Karl Lagerfeld and Carine Roitfeld, documents 109 celebrities wearing the timeless article, all photographed by Lagerfeld. “It suits everyone,” Roitfeld says of the garment’s enduring appeal. The exhibition has been to Tokyo, New York, Taipei and Hong Kong, and will be traveling to London (October 12 to 28) and Moscow (October 20 to November 11). BAL HARBOUR 37
SEASON OF STYLE 10 MINUTES WITH... With restaurants from New York to Doha—including J&G Grill in the St. Regis, Bal Harbour—French chef JEAN-GEORGES VONGERICHTEN is a commanding force in the international culinary scene. Here he shares his favorite restaurants, sartorial preferences and where he turns for inspiration.
OVER
Diana Vreeland photographed by Horst P Horst in 1979; below, Vreeland with Marissa Berenson.
Van Cleef & Arpels’ brilliance, from its fabled gems to its innovative styles that have tempted real and Hollywood royalty, culminates in “L’Art de la Haute Joaillerie” at the Musée des Arts décoratifs in Paris. Beginning with its founding in 1906, the house’s history is told through 400 iconic pieces including the Zip necklace, seen here. Through February 10, 2013.
When did you know you wanted to be a chef? “My parents took me to L'Auberge de l'Ill, a three Michelin-starred restaurant, to celebrate my sixteenth birthday. I was blown away by my experience and it was that meal that changed my life. My mom convinced chef Paul Haeberlin to take me on as an apprentice. After my first day at work I knew I no longer wanted to work in the family business; I wanted to become a chef.”
the ORIGINAL
Zip necklace-bracelet, 1951
LONG BEFORE ANNA WINTOUR RULED FASHION’S WELL-FEATHERED ROOST, THE INDUSTRY HUNG ON TO EVERY WORD OF DIANA VREELAND, VOGUE’S LONG-TIME EDITOR IN CHIEF, A.K.A. THE “EMPRESS OF FASHION.” HER 50-YEAR CAREER, WITH HIGHLIGHTS INCLUDING LAUNCHING TWIGGY’S WAIF LOOK, IS INTIMATELY TOLD BY LISA IMMORDINO VREELAND, A FASHION DESIGNER TURNED DOCUMENTARY FILMMAKER, IN DIANA VREELAND: THE EYE HAS TO TRAVEL.
BLUE JEAN LADY
Gloria Vanderbilt with Wyatt Cooper; at right, Vanderbilt’s Seasaw, 2012 38 BAL HARBOUR
What are your favorite restaurants in Paris, New York and London? “L’Arpege in Paris, Masa in New York and The River Café in London.”
MOST PEOPLE KNOW GLORIA VANDERBILT AS THE JEAN QUEEN OR ANDERSON COOPER’S MOM. BUT THE OCTOGENARIAN IS ALSO AN ACCOMPLISHED ARTIST, WHOSE “THE WORLD OF GLORIA VANDERBILT: COLLAGES, DREAM BOXES AND RECENT PAINTINGS” IS EXHIBITED AT 1STDIBS GALLERY IN NEW YORK, THROUGH OCTOBER 24. AMONG WORKS DEPICTING LA VIE CONTEMPORARY ARE PORTRAITS OF ANGELINA JOLIE AND JOYCE CAROL OATES.
Do you have any go-to fashion labels? “Prada, Marc Jacobs, Helmut Lang.” How do you typically spend your weekend? “Visit my country home, cook for friends and family, fish, kayak and ice skate in the winter.” Do you see a relationship between food and fashion? “Food and fashion are very similar. They are both made up of layers, colors and texture. In both food and fashion there is first a physical attraction followed by an emotional reaction.” What inspires you? “I find inspiration in my travels and experiences. I travel approximately once a month to both familiar and new places. I find that visiting a new restaurant, store or place in New York is also inspiring.” What is your favorite thing about Bal Harbour? “I am particularly fond of Bal Harbour’s great beaches, shopping and local restaurants. I love that you are able to get a taste of Miami without having to deal with the scene. I love the St. Regis for its pool and accommodations.” Which young chef do you have your eye on? “There is so much young fresh talent here in NYC and worldwide. But, to name a few: my son Cedric Vongerichten, who is the chef de cusine at Perry Street and chef César Ramirez of Brooklyn Fare.”
Jean-Georges and Marja Vongerichten.
PHOTOS BY © PATRICK GRIES/VAN CLEEF & ARPELS; RON GALELLA/WIREIMAGE (VANDERBILT); © ESTATE OF HORST P. HORST/ART + COMMERCE, COURTESY OF THE ESTATE OF JAMES KARALES (VREELAND); JOE CORRIGAN/GETTY IMAGES (VONGERICHTEN)
BAUBLING
© D.YURMAN 2012
bal harbour shops 305 867 1772 DAVIDYURMAN.COM
André Leon Talley BY TALI JAFFE
Clockwise from top: André Leon Talley; Commes des Garcons Spring 2012 black lace dress (famously worn by Marc Jacobs at this year’s Met Gala); a detail of Ralph Lauren’s Fall 2012 black sable embroidered evening dress.
40 BAL HARBOUR
There are certain pieces that unite even the most disparate of wardrobes, and the Little Black Dress is inarguably one of them. Though from its description it would seem obvious what this particular garment should look like, a new exhibition at the Savannah College of Art and Design begs to differ. Curated by Vogue contributing editor André Leon Talley, “Little Black Dress” explores the many iterations of this key piece and the role it’s played in modern fashion design. We caught up with the dynamic Mr. Talley not long before the exhibition opened to discuss building a costume collection, the allure of neoprene and editing our lives. When did you first begin your relationship with the Savannah College of Art and Design? In 2000 I visited the campus on the invitation of [President and co-founder of SCAD] Mrs. Wallace. I think SCAD is a wonderful institution that provides a wonderful experience for its students and faculty. From that first visit the relationship has continued to develop. In 2009 I was given an honorary degree. “Little Black Dress” is your second exhibition at the school. How did you decide on the subject? I wanted to pull something from the costume collection for my next exhibit. It’s really expanded over the last few years, and when I went to the museum to review the collection, I noticed how many LBDs there were. I thought it would make for a great exhibit. And you were integral to the growth of the museum’s costume collection, weren’t you? Yes. I can take a little bit of credit. Many of my friends have donated clothes to SCAD. When I talk about the couture collection they’re developing there, people want to be a part of it. And who are some of these donors? A few of the most prominent donors are Patricia Altschul from Charleston and Mrs. William McCormick Blair Jr. from New York. And a major donation was made by the estate of C.Z. Guest, which donated her entire existing wardrobe. In addition to pieces from designers like Michael Kors, Balenciaga, Oscar de la Renta and Ralph Lauren, you also included a couple of recent graduates of the school. Why did you include them in particular? I saw the work of Alexis
Asplundh at the annual fashion show this year and I loved what she was doing. Her entire graduate thesis was created out of neoprene. I thought it was unusual and very well made. The other student, Victoria Wilmoth, her work came to me a bit later when I was shown a photo from the fashion show. Her evening gown embellished with exquisite gilded plumes just really got my attention. If you were to design a LBD, what would it look like? I would never design a little black dress. I would never dream that I could do something like that. I would never be so presumptuous! Fair enough. Tell us then, what is the message behind this show? The exhibit illustrates that you can interpret the Little Black Dress into whatever you feel. It’s individuality that’s important; it’s not just a shape or silhouette—It can even be navy blue! It’s about personal expression—of the designer or the woman who wears it. There’s no one single definition of the Little Black Dress anymore. You’ve been involved with museum shows on numerous occasions. What similarities do you find between your editorial work and curating an exhibition? There are indeed similarities between making a museum show and writing my column at Vogue. Everything in life should be edited: your friends, your food, your day, your activities. It’s all about assessments in life. Every experience should be about editing. It’s an operative word about life. You have to make choices that express who you are. BH
PHOTOS BY ADAM KUEHL, COURTESY OF SCAD (FASHION); SUSAN B. LANDAU (TALLEY)
takes on the Little Black Dress at the Savannah College of Art and Design.
Desirable Perl茅e Collection Rings, pink gold, white gold and diamonds.
Haute Joaillerie, place Vend么me since 1906
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femme fatale
From shop to shoe, Sarah Burton’s new direction for Alexander McQueen ushers in an era of romance without dulling its edge. BY ALEXANDRA MARSHALL hange at the top is never easy in fashion. Even the smallest adjustment—like Hedi Slimane’s new retooling of Yves Saint Laurent into Saint Laurent Paris—can cause a controversial ripple in the force. So imagine the transitional challenge faced by Sarah Burton at Alexander McQueen. In February 2010, she had to absorb the shock of the untimely passing of the house founder (and her mentor), Lee Alexander McQueen; face rampant industry guesswork over his successor; and then, when she was appointed creative director three months later, produce a collection under a cloud of mourning and intense media scrutiny. Her results in that first showing in October 2010, and with each one since, have been brilliant. Burton has produced feminine, delicate, fantastical clothes that are more hopeful than angry, more triumphant than dark. It’s a subtle turn, and a highly successful one. Maintaining the house’s deft tailoring, detailed craftsmanship and sculptural silhouettes, Burton has held on to celebrity fans like Kate Moss, Florence Welch and Cate Blanchett, and added even higher-profile new ones, like Michelle Obama and Kate Middleton. Her wedding dress for the Duchess of Cambridge earned her worldwide acclaim and a membership in the Order of the British Empire for a distinguished contribution to the British fashion industry. And now, with the Fall 2012 collection arriving in stores that have themselves just unveiled a makeover, we can see that Burton is exploring new territory. Most significantly—because nothing signals a commitment to change like a remodel—Burton and the interior designer David Collins have overhauled the look of McQueen’s boutiques. The first redesigned shop debuted in June in Bal Harbour; next comes China, and, by 2013, the transformation will be complete with the
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The Horseshoe sandal from the Fall/Winter 2012 runway collection.
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HIGH JEWELRY COLLECTION
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Burton’s turn to softness and femininity has been increasingly evident on the runway. Fall 2012 derived its inspiration from the house’s ongoing obsession with the wild world of flora and fauna.
Bond Street flagship in London. Texture and color have softened the chromeinflected minimalism of yore. Wall coverings are now lacquered linen, silk and rubbed gesso. Lighting has a new warm tone. There are gilt mirrors, moldings and claw-foot velvet furniture rich with organic detail. It’s a level of luxury and sensuality that pairs well with the clothes, and the people who buy them. Burton’s turn to softness and femininity has been increasingly evident on the runway. Fall 2012 derived its inspiration from the house’s ongoing obsession with the wild world of flora and fauna: dresses, shaggy furs and ostrich feather coats burst open like flowers or sea creatures. But the palette was unusually delicate, and there was a new emphasis on tailored volume—coats and skirts were full, nary a pencil skirt in sight. The commercial collection now in McQueen boutiques worldwide, with its circle skirts and governess outerwear, could almost be described as prim, were it not for telltale razor-sharp shoulders and waists, beautifully defined by stately leather corset belts. Those belts are just one stone in a new accessories mountain that Burton is building, one coveted bag at a time. First was the Knuckle Box clutch, a minaudière embellished with an oversized clasp resembling the Boardwalk Empire-era fighting tool. Now comes the Heroine, a roomy, sophisticated, highly structured shoulder bag whose wide choice of skins (from suede to leather to alligator) signals its status as a future cornerstone. These pieces are perfect symbols of Burton’s new McQueen: evocative and sophisticated as always, but with a broader new appeal that both complements the house’s past and moves beyond it. BH
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Left, a look from the Fall/Winter 2012 collection; far left, the new Bal Harbour store.
Y oung americans Four young businesses, a quartet of distinct American fashion sensibilities, united by an unpretentious commitment to excellence and craft: Cushnie et Ochs, Ohne Titel, Joseph Altuzarra and Eddie Borgo define what is very best about the next generation of American designers.
BY LYNN YAEGER 46 BAL HARBOUR
PHOTO BY PAUL MAFFI
“I THINK ‘YOUNG’ IS MORE ABOUT WHERE YOUR BUSINESS IS, AND I THINK WE’RE ON THE CUSP!”
[JOSEPH ALTUZARRA]
“American fashion is all about ease—a sense of pragmatism, the idea that clothes should mold to your lifestyle. In France, how you dress can be a little more challenging intellectually,” says Joseph Altuzarra, and he ought to know—- the designer possesses dual citizenship: he was raised in Paris, went to Swarthmore and worked with, among others, Marc Jacobs (here) and Givenchy (abroad). Now based in New York, Altuzarra, who won first prize this year in the CFDA/Vogue Annual Fashion Fund competition —has recently received accolades for his fall 2012 collection, with its coin-bedecked parkas, light-hearted knitwear and slim trousers. Reflecting his own background perhaps, the designer says this season is meant for a global nomad: “It’s a vibe that pretty accurately reflects what is going on in fashion now.” He confesses that another inspiration was Corto Maltese, a French comic strip character from the 1970s. “He’s a sailor, his mom is a gypsy and his dad is Venetian—he’s a famous style icon, he’s even been in Dior ads!” Though his work is not meant for a woman of any particular age, Altuzarra is often referred to as a “young” designer. But he laughs when he is asked his opinion on how young is young? “I’m 29—so maybe I’ll be a ‘young’ designer until I am 35?” Then he pauses and becomes more thoughtful. “I think maybe young is more like where your business is, and I think we are on the cusp!”
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COURTESY OF CUSHNIE ET OCHS
“I’M A WOMAN, SO I ASK MYSELF, ‘WOULD CARLY WEAR IT—WOULD I WEAR IT?’”
[CUSHNIE ET OCHS] “I’m a woman! So I ask myself— would Carly wear it? Would I wear it? It’s no good if it’s falling down, or I think it looks cute but it’s so uncomfortable,” says Michelle Ochs, one half, with Carly Cushnie, of Cushnie et Ochs, when asked to describe the design aesthetic behind their young line. The sleek, sharp, tailored offerings they are known for—the trademark of which is the judicious placement of cutouts — may appear taut and sexy, but since the pair try on everything themselves, you can be assured that each piece offers superb wearablilty. “We like to celebrate the female body!” Ochs explains. The pair honed their skills by interning for an eminent roster of designers— together, they count Marc Jacobs, Oscar de la Renta, Ralph Rucci, and Donna Karan among their mentors. Though they mount exciting runway shows during New York Fashion Week, they are also no strangers to another, much ballyhooed way in which the shopping public learns about new designers: namely, by seeing these labels sported by celebrities. Cushnie et Ochs have happily dressed not only Kristen Stewart, Leighton Meester and Eva Longoria, but a certain very forward-thinking First Lady: Michelle Obama wore their green halter-neck dress for Christmas in Washington. One last question, ladies—what’s with the et? “We didn’t just want an ‘and,’—we wanted something to set us apart,” they giggle. “It makes us special.”
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“I went to school for art history and costume theory,” recalls the extraordinarily talented jewelry designer Eddie Borgo. “It all comes back to adornment—the special ways we differentiate clan, tribe and family.” Borgo, who describes his work as “high end meets street,” started making jewelry when he worked as a stylist assistant fresh out of school, beginning with simple pieces of studded leather and then sitting with a metal smith and apprenticing himself to various craftsmen. Borgo had been fascinated with jewelry since his childhood, especially the audacious 1980s costume pieces his mom collected. “They were really gaudy with rhinestones and metallic paint, but I could see there was an individual hand in them.” His own hand is evident in everything he creates: the collection for fall 2012 was inspired by the work of the photographer Steve Duncan, who specializes in what Borgo calls “the underground subterranean New York— abandoned sewer system, waterways, the way expansion joints join one pipe to another— feats of engineering that are really beautiful!” He says he would love to expand to fine metals and maybe gemstones, but at the moment his trademark geometrical shapes are still considered “costume”—albeit with a difference. “Each piece is hand made, hand polished and hand crafted. The style can be rock and roll, it can have a subcultural aspect, but at the same time the little details we add— the kind of closure we use, and other touches—are just like the ones you find in fine jewelry.”
“IT ALL COMES BACK TO ADORNMENT AND THE SPECIAL WAYS WE DIFFERENTIATE CLAN, TRIBE AND FAMILY.” 50 BAL HARBOUR
PHOTO BY DEREK KETTELA
[EDDIE BORGO]
PHOTO BY DARREN HALL
[OHNE TITEL] One day about a decade ago, Flora Gill and Alexa Adams, school chums from Parsons The New School for Design, sat down and showed each other their sketches over bubble tea, and just like that, a business was born. “It’s nice to have someone you trust to work with. We’re both collaborative people,” says Adams of their decision to form Ohne Titel—German for “without title.” “Alexis has a tailoring background, and I have a textile background, so we inspire each other,” Gill adds. The duo is known for their inventive knitwear and strong graphic patterns—their aim, they say, is to create a silhouette with textiles and techniques, something to suit the iconic women they imagine as their customers—people like the wildly eclectic nonogeniarn Iris Apfel and the Iranian artist Shirin Neshat. Their inspirations are as far-flung as the women they idolize: they cite a 1968 Soviet film called The Color of Pomegranates for its use of tones and texture. Their references may be arcane, but they have all four feet on the ground when it comes to building their company. (In Adams’ case, the feet are today clad in a pair of extraordinary feathery sandals from their own line). Sunglasses launch next spring, and they say they’d love to do menswear and swimsuits. Whatever they embark upon, Gill insists, “There’s a timeless appeal to the pieces that’s part of their value. Fashion is really about individuality.” But they’re still green enough to almost swoon when they see a stranger wearing one of their designs: “It’s like your children out in the world!” Adams exclaims. 52 BAL HARBOUR
“IT’S NICE TO HAVE SOMEONE YOU TRUST TO WORK WITH. WE’RE BOTH COLLABORATIVE PEOPLE.”
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Shooting star Jacquelyn Jablonski knows there are some things in life one simply cannot remain quiet about. Her ability to keep her feet on the ground under pressure comes from growing up with her younger brother Tommy, who is autistic. She has partnered with Autism Speaks, the nation’s largest autism science and advocacy organization, using her face and voice to raise awareness about the increasingly widespread developmental disorder.
Daria Werbowy Carbonfund.org
Ukrainian-Canadian model Daria Werbowy paired with Lancôme— which she’s the international spokesmodel for—to found Carbonfund.org, which helps offset the carbon footprint Lancôme’s models when jetting around the planet. And that’s not all: Inspired by a visit to artist Vik Muniz’s Centro Espacial, a nonprofit program for at-risk teens in Rio de Janeiro, Werbowy created a cosmetics line, Brazilian Earth Colors, to benefit the center. Combating climate change while conjuring cosmetics, covers, catwalks and campaigns—c’est eco-chic!
Naomi Campbell Fashion for Relief
Jacquelyn Jablonski Autism Speaks
Liya Kebede The Liya Kebede Foundation
MODEL CITIZENS
Showing their inner beauty through charitable works and private foundations, these seven models are proving that looking good and doing good go hand in hand. BY BRANDON PALAS
Natalia Vodianova Naked Heart Foundation Naomi Campbell’s charitable endeavors are invariably overlooked in the media’s rush to cover the famously fickle supermodel’s temper tantrums and diamond exploits. In 2005, she founded two organizations: We Love Brazil supports various causes through the sale of fabrics made by local artisans, while Fashion for Relief uses fashion shows to raise money for disaster relief efforts, such as for Hurricane Katrina, terrorist attacks in India and the 2010 earthquake in Haiti, among others. She also works closely with the Nelson Mandela Children’s Fund. 54 BAL HARBOUR
Ethiopian model-turned-advocateturned-designer Liya Kebede has served as the World Health Organization’s Goodwill Ambassador for Maternal, Newborn and Child Health since 2005. Her clothing line, Lemlem, meaning “to bloom” in Amharic, helps preserve the art of traditional Ethiopian weaving by employing local artisans who fabricate hand-woven and embroidered garments for women and children. At the same time, Kebede’s foundation battles maternal, newborn and child mortality around the world by funding community-based projects and medical programs.
Tao Okamoto Save Japan!
In 1991, Alek Wek fled South Sudan with her family to escape the civil war, seeking freedom in Britain. Soon after she arrived, an agent spotted her, and the rest is modeling history. As a member of the U.S. Committee for Refugees’ Advisory Council, Wek, who now lives in the States, helps raise awareness about Sudan’s tragic situation, and the plight of refugees worldwide. She is also a missionary for World Vision, a Doctors Without Borders ambassador, and a UNICEF supporter.
Natalia Vodianova has come a long way from selling fruit alongside her mother in Gorky, Soviet Union (now Nizhny Novgorod, Russia). After finding no safe, inspiring places for children to play during a 2005 visit to Krymsk in Southern Russia with her son, Lucas Alexander, the London-based beauty created the Naked Heart Foundation, which has built 39 play parks since 2006. So, she might say: Work hard, play harder.
Alek Wek Refugees’ Advisory Council
Japanese model Tao Okamoto has taken the fashion world by storm since she arrived on the scene in 2006. But it wasn’t until five years later, in 2011, when the Tohoku earthquake and tsunami hit her beloved homeland, that Okamoto’s impact was truly felt. She teamed with the Save Japan! Project to host a charity bazaar featuring goods formerly owned by top models and industry insiders. All proceeds from the event were donated to Peace Winds Japan, which has been directly involved in the recovery and reconstruction of affected areas.
©T&CO. 2012
Celebrating The World’s Greatest Love Stories Since 1837
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Illustrator Debonair Jean-Philippe Delhomme steps out of the shadows and into the art-world spotlight. BY JILL SPALDING ILLUSTRATIONS BY JEAN-PHILIPPE DELHOMME
Alexander Wang, Fall/Winter 2012
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t amuses that Jean-Philippe Delhomme—the French-born, New York-based fashion illustrator, artist, writer—has chosen “The Unknown Hipster” as his alias. The gently ironic illustrations that at once celebrate and send up the trendy world he inhabits have appeared in W, The New Yorker, GQ, UK Vogue, the Los Angeles Times and GCasa since the mid-’80s, and, although nothing mod/hot/cool/rad or, indeed, hip escapes the vignettes conjured up by Delhomme’s inquiring brush, their creator is thoughtful, elegant and, in his coverage of all that matters at this instant, timeless. We caught up with Delhomme as he was prepping The Unknown Hipster, a book based on his blog, now available from August Press.
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Which of the publications you have contributed to best reflects your worldview? I always try to bring my own views, or suggest a personal take on a particular situation; otherwise, I think it’s very boring for the viewer. I like to anticipate some kind of conversation with the people who will see my work. When I have an assignment, I always try to create a second story, which brings life to it and provides something we can relate to. The campaigns I did for Barneys New York in the mid-’90s were like this. I had total freedom to come up with situations, and although the idea was to sell clothes, which it did, I was in fact telling stories about the people who were
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F E R R AG A M O.C O M
At the Oscars
Above, Karl Lagerfeld; below, Delhomme’s self-portrait
“I always try to create a second story . . . I like to anticipate some kind of conversation with the people who will see my work.” —Jean-Philippe Delhomme wearing them—and also gently making fun of the buyers, including myself. People related more to these situations than to a photograph of a supermodel. I still sometimes meet people who tell me, “It was me on that ad!” And, of course, it was a perfect and playful match with Glenn O’Brien, who was writing the copy. I also had longtime collaborations with magazines for which I could really do something totally personal, like for LA Times Magazine (which sadly closed), in which I had a page called “Social Studies,” or French GQ, for which I sometimes write stories and illustrated them, or the Italian interior magazine GCasa, for which I write and illustrate imaginary interviews with art, architecture and design celebrities. You were drawn to photography but chose to interpret your world through illustration. Why was that? When I was a student, I was indeed much more interested by the work of
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photographers; photography was really what inspired me the most to paint. I loved the realness of photography and the way it romanticizes [an image]. There was something richer to me there from which I could start. David Bailey, Bruce Davidson—especially his book Subway—Walker Evans all had an impact on me. Which mediums do you most like to use? Although I sometimes use watercolor to do landscapes when I travel, I use gouache most of the time to work. I love the fact that it’s light, fluid and the quality of the colors. And I love to work on paper. There is a simplicity to using gouache, paper and water, which pleases me very much—a simplicity and immediacy. I also use a very smooth paper, which allows the brush to go fast. Which sorts of characters do you most enjoy portraying when not working on commission? I love to do small oil portraits of my family and close friends. Or I would do portraits of people who I find interesting—other artists, etc., like I do for my
The lobby of The Mark, New York
“I love to draw a scene the way it is . . . sometimes reality presents itself in a way that can’t be surpassed.” —Jean-Philippe Delhomme blog. I like to draw and paint without intention, just painting what I see. Do you have favorite real-life characters? You seem to be fascinated by Karl Lagerfeld. It’s not so much that I’m fascinated by Karl Lagerfeld. It’s that he is a fixture of our time. I met him once on assignment for French Vogue, so I could get a rather precise idea of how he is in real life, but then, people kept asking me to draw him. One of the most appealing aspects of your work is the ambivalence of your take on the world you inhabit—its players are at once risible and charming. Is this a reflection of your idea of human nature or only of the trendsetters and followers whom you cover? I like to suggest different sides of people. I guess I identify with the people I draw, or like to show some of their pretensions, ridiculousness or weaknesses that I’m most likely to share with them. I don’t use drawing to be critical or to take revenge. If you spend time to draw, it’s with the hope to be driven by some idea of beauty and humor. What best generates an idea for you? We never know how inspiration comes up. Sometimes it’s when I read something, walk in the street or take a flight. Of course, certain situations make me want to paint; it could be the light in the streets, somebody walking through a museum in a way that captures my attention, or the setting of a fashion show. Is it enough to have a general idea of the subject you are assigned—food, fashion, setting—and flesh it out in your studio, or do you prefer to immerse yourself for several hours or days in an environment, with all details provided? I can do many things from imagination, if it’s for a humorous drawing, for example, but I like things to be realistic as much as possible and pay special attention to details, so if I’m asked to draw a certain place, city or clothes, I want to experience the real thing as much as possible. It would be great to paint on location, but, of course, it’s rarely compatible with real life and contemporary spaces, but at least I want to go there and take my own photographs to work from back at my studio. Are you happy to work on commission, or do you think of an assignment
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as a job and prefer to come up with your own ideas? I usually turn down jobs for which I can’t come up with my own ideas and do jobs for which I’m commissioned to bring my ideas. Do you need a scene to be set, or have you learned how to bring it all together? I love to draw a scene the way it is, an art gallery opening, a great fashion show, a photo shoot. Sometimes reality presents itself in a way that can’t be surpassed, but I’m often bringing things together. I’m the stylist, makeup artist, hairdresser, location scout—even the set designer! Your work is as light as a fly on a flower. Have you ever indulged in a dark take on a subject? That’s the greatest compliment to me. I can’t say that I’ve never been tempted by heaviness, darkness and the tragic, but contrary to some artists who are great masters of the genre, the results have been so ridiculous for me that it had always proved to be an efficient cure to this state of mind. How has having a greater audience following your blog affected your work? I started a blog with a complete free mind; there are no constraints—it’s really just musings, or strolling down the streets. I don’t think of a particular audience, or of what this audience would like. I don’t even have a schedule—only post once in a while when I have a subject that I’d like to work on, which is contrary to the rule of blogging, which says that you have to post every day to hook up your audience. What brought you to writing? Are there aspects of the culture that cannot be evoked as effectively by illustration as by words? I’ve always been interested in writing, and I find literature as appealing as painting. At one point I had the impression that you could be better understood by people reading something you wrote rather than by people quickly looking at a picture. But, of course, that doesn’t make sense. It is just as amusing to me to write as it is to draw, to play with words and express reality. How would you like your work to be thought of 50 years from now? To give an idea of how our time was, while people could relate to it and say, we are just the same. BH
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STYLE Diary
“Every woman should have a great pair of earrings that work day and night.” Alexis Bittar earrings, Neiman Marcus
Zani Gugelmann The Swiss-Peruvian glamour girl has a penchant for traveling and makes a point to choose quality over quantity. BY JENNIFER CONDON PORTRAIT BY BEN RITTER
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he is one of New York’s most photographed faces, so it’s no surprise that Zani Gugelmann knows her way around a camera. The amateur shutterbug, who cites the portraiture of Irving Penn as inspiration, regularly captivates with her impeccable style, a seemingly effortless mix of downtown individuality and inherent confidence, much like her style icons Jane Birkin and Diane Kruger. This personal mix also defines her current line of jewelry, Santo, an elegant-but-edgy collection of silver bullet pendants that carry a personal message inside. After a summer of travels, the New Yorker is back in TriBeCa, a neighborhood she enthusiastically calls home. Here she shares with us her favorite people and places.
MIX MASTER
BULLET POINT
“I wear my Santo pendant with diamond pavé for a little evening bling.” IMAGE CAPTURE
“I’m drawn to black and white portraiture photography.” Leica M Monochrom digital camera, Futuretronics.
“AROUND MY APARTMENT I TRY TO MISMATCH AS MUCH AS POSSIBLE.” DIANE VON FURSTENBERG COAT AND DRESS.
GRAB & GO
“I always rely on great bags from Balenciaga.” Balenciaga printed leather clutch.
BOOTY CALL
“I always leave room in my suitcase for shoes. Louboutins are the best for a night out.” Christian Louboutin Diplonana booty.
“If you invest in small quantities of the best, you never have to skimp.”
LEATHER LUST
“I CAN’T WAIT TO WRAP UP IN THIS BLACK LEATHER TRENCH.” VALENTINO COAT
PEACE RETREAT
“The sand dunes in Colan, Peru are a mystical sanctuary where I find peace.” 62 BAL HARBOUR
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STYLE Diary
LOCAL FLAVOR “My favorite travel indulgence is getting a private tour guide—and my new chic Brunello Cucinelli suede roller bag.”
COLLECTOR’S CHOICE “I love bringing home ceramics, French bowls and books from my travels.” Hermès Bleus d’Ailleurs bowl.
“Uniforms are for the military. You have to be and look like an individual.” TRADEMARK TOPPER
DISTINCT DESIGN
“I love hats! Especially in the winter.” Hermès wool hat.
“MY STYLE IS AN ECLECTIC MIX OF HIGH AND LOW.”ALEXANDER MCQUEEN PLAID VELVET SUIT.
Carlos Mota The author and stylist has a love of travel that inspires the worlds he creates for himself and his clients. PORTRAIT BY WILLIAM WALDRON
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s an international stylist and interiors guru, Carlos Mota has access to the world’s chicest spots. A true aesthete, he is an impassioned world traveler who favors hunting down the unpublished local haunts of Old World cities such as Paris and Venice—and historic New World cities such as Cartagena—over traditional tourist activities. Along the way, the insider knowledge he gathers influences the diverse and cultivated vision he shares on editorial pages, in advertisements and at choice private residences. He approaches fashion in the same manner, integrating pieces from both high fashion and the mass market to achieve his eclectic style—and he especially values a strong accessory to express individuality. He shares with us his favorite styling tricks both inside the home—soft lighting, organizing books by color—and out.—J.C. 64 BAL HARBOUR
PICK A COLOR “My favorite flowers to use are peonies, garden roses and potted orchids.” Flowers Chic & Cheap, by Mota.
ULTIMATE SAIL
“One of my favorite trips was on an Abercrombie & Kent Nile cruise. Waking up early and watching the sunrise is remarkable.”
INFLUENTIAL INTERIORS “I admire the work of Jacques Grange, Jean-Michel Frank and Tadao Ando.” Jean-Michel Frank Comfortable Club Armchair for Hermès.
Pi agetManuf act ur emov ement880P Mechani cals el f wi ndi ngchr onogr aph Fl y back,dualt i me 100met erwat err es i s t ant T i t ani um wi t hbl ackADLCt r eat ment Sapphi r ecas eback,r ubbers t r ap
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STYLE Diary
Pamela Golbin It may be her job to follow fashion, but for this clothing connoisseur, great style extends beyond the office. PORTRAIT BY JULIEN VALLE
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s chief curator of Paris’ Musée de la Mode et du Textile, Pamela Golbin is one of the less conspicuous forces in the fashion industry. But while she may not be a bold-faced name, the exhibitions she has brought to the Louvre have garnered attention-grabbing headlines. Having grown up in Miami and been educated at Columbia University in New York, the Franco-Chilean Golbin cites many influences in her life that led her into fashion, from an haute-couture-collecting grandmother to summer internships at The Costume Institute at the Metropolitan Museum of Art. She shares with us her favorite trends for fall, tips for traveling and where she splurges for the ultimate indulgence.—J.C.
PARADISE FOUND “The Hotel du Cap in the South of France is a short plane ride from Paris and the ultimate place for being indulged.”
“You need to feel at ease in any outfit in order to carry it well.”
MATCH POINT
“I never leave home without a Nancy Gonzalez crocodile bag. I match a colored clutch with my outfit for evening.”
COLOR THERAPY “The Rothko chapel in Houston is one of the most moving places I have ever visited.”
WELL RED
“From modern to traditional, the color permeated the collections to make a strong and powerful statement.” Lanvin dress and Valentino jumpsuit, above.
ON THE MARC
“I’m really excited about the Louis Vuitton Marc Jacobs exhibition I curated at the Louvre.”
DAILY INSPIRATION
“In the Tuileries gardens at the museum you can sit down and enjoy the tranquility while being surrounded by the Louvre palace, Eiffel tower and IM Pei’s pyramid.”
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B A L H A R B O U R S H O P S 9 7 0 0 C O L L I N S AV E N U E 3 0 5 . 8 6 1 . 7 1 1 4 F E N D I . C O M
STYLE Diary
YOGA ZEN
“I’m looking forward to my trip to India to visit local artisans and a visit to the Ananda spa in the Himalayas.”
PRIORITY BOARDING
“I carry my personal belongings and a good book in a men’s Hermès canvas bag.”
CUFF LOVE
“My Creel-Mack Maltese cuff is a wardrobe staple that goes with nearly everything.” Gold cuff with diamond crystals.
WALKING TALL
“These over-the-knee boots with tassels top my list of must-haves for fall.” Altuzarra leather boot.
Jennifer Creel The down-to-earth beauty conquers motherhood and entrepreneurship with unflappable style. PORTRAIT BY BEN RITTER
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eing a mother to three teenagers is work enough. But Jennifer Creel is not the type to focus her energy exclusively. In addition to working as a model and actress, the former Ralph Lauren designer oversees a burgeoning fashion empire that includes jewelry, clothing and her signature accessory, sunglasses. She credits Jackie O, Kate Moss and Charlotte Casiraghi as style icons, and maintains a similarly deliberate wardrobe of her own. Known for her impeccable style at home and on the street, the talented tastemaker is also an impressive athlete who has completed the NYC marathon and trekked to the top of Mt. Kilimanjaro. We find out what she’s sporting this fall.—J.C. 68 BAL HARBOUR
MODERN ELEGANCE “I LOVED THE SOPHISTICATED DETAILS OF LACE, LEATHER AND FUR IN ALTUZARRA’S FALL COLLECTION.”
With a Twist Once a design of function over form, today’s scarves are fashion-forward pieces.
hen you think of a designer scarf, chances are the first image that comes to mind is a traditionally printed, extralarge, hefty silk square from Chanel, or maybe even a woolen Valentino or Pucci muffler. But a new breed of fashion-forward scarves has gained popularity: typically made of lightweight fabric, often oblong, they’re intended to be worn for style instead of warmth or preppy status—and go with just about anything. Scarves along these lines are all over this season—in animal prints from Jimmy Choo and YSL, more delicate patterns from designers such as Stella McCartney and, in a scarf collection that keeps expanding, Alexander McQueen’s nowiconic skull print. In addition to pieces from toptier designers, these wear-anywhere accessories are also on offer from some contemporary lines, including Marc by Marc Jacobs, which offers versions in tweaked tweeds and Impressionisttinged florals, and Kelly Wearstler, who favors covered wraparound scarves with vivid prints. Essentially, what these scarves offer is something that’s hard to resist: a deliberate fashion statement that’s easy to wear and doesn’t require too much commitment or expense, like you get from a great pair of sunglasses. “The best way to look finished is to put a scarf around the neck,” stylist Annabel Tollman says. “It’s an easy way to look done, and it brings attention to the face. In that way, you can consider it to be like a piece of jewelry.” Many celebrities, particularly in sunny Los Angeles, have been photographed repeatedly in scarves along these lines, which has inevitably helped the acceptance of this new take on a neckerchief grow. Fans include Jessica Alba and Kim Kardashian, Natalie Portman and Mila Kunis. The look appeals to men too: Robert Pattinson, Johnny Depp and Ewan McGregor all
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Audrey Hepburn in Charade, 1963.
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tend to twist an oblong scarf loosely around the neck for a bit of ever-so-slightly insouciant swagger. Men who want to incorporate that look into their fashion vernacular should check out Kiton, which carries scarves in an extensive selection of colors, patterns and fabrics. Instead of positioning scarves just as standalone accessories, retailers have started to emphasize the link between scarves and designer ready-to-wear collections. “We’re more focused than ever on making sure our scarf prints are from the runway,” explains Elizabeth Kanfer, co-director of women’s accessories at Saks Fifth Avenue. “We’re also noticing that the fashion customer feels confident to layer a printed scarf over a printed top. With the prevalence of so many prints on the runway, they really are a fashion statement.” In tandem, designers are creating scarves with an unmissable connection to their collection. Take Thakoon Panichgul, whose creations have been worn by Michelle Obama. The fall Thakoon line includes Crayola-bright scarves covered with a crocodile-esque print that was also used this season on a gauzy sleeveless dress. For pre-fall, he offered large-and-long scarves with similarly dynamic patterns—delicate pink flowers toughened by an army green background, as well as tiny striated lines of primary colors—that echoed that season’s dresses. “The scarves always pick up the theme of the collection because it’s important to have cohesion,” Panichgul says. “But our scarves are much more casual, more everyday, for the woman who works, travels and is on the go.” That’s really the key to this trend: Scarves these days aren’t an afterthought or pieces saved for a cool evening or the drafty air of a plane. And it’s worth noting that, for the traditionally minded, there are also plenty of silky, blown-up, checked scarves of all sizes and designs created to wear indoors at the moment. BH
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Down from the Mountain
Moncler’s feather-weight ski designs find a home on the streets. BY WILLIAM KISSEL PORTRAIT BY MILAN VUKMIROVIC
When Italian entrepreneur Remo Ruffini acquired the struggling Moncler label in 2003, he dreamed of transforming the utilitarian jacket maker into a global luxury brand in which the French company’s signature goose down feather linings could be used for more than just fighting the arctic chill. Now, with the opening of the first Moncler shop at Bal Harbour, the firm’s cold weather designs are getting their first warm welcome. “Moncler has always been very classic—functional but in many ways all about sport, particularly ski. So the goal was to make something more contemporary and ‘of the moment,’” says Ruffini, who enlisted the services of a handful of international designers—from Nicolas Ghesquière and Junya Watanabe to Giambattista Valli and Thom Browne—to collectively transform his vision of “the global down jacket” into a red hot fashion label identifiable by its distinctive red, white and blue logo, picturing MonDuck, the brand’s iconic duck character, behind twin mountain peaks. Together they created a series of fashion-forward, street-worthy collections— including Gamme Rouge and Gamme Bleu, as well as the updated Grenoble ski line—to bring an element of cool (as in hip) to a younger generation. More recently Ruffini launched a line of eyewear through Mykita and a joint partnership with Pharrell Williams, the clothing designer and Grammy-winning music producer, as part of the brand’s global expansion beyond outerwear. The idea, says Ruffini, is “to expand our collections to address the daily demands of contemporary life. It doesn’t have to be just for the ski slopes; it can also be for a man to wear over a suit to the office or even a woman to wear to the opera.”
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Remo Ruffini
f course, the Moncler name was hitting the streets long before Ruffini made the transition official. As early as the 1980s teenagers began adopting the puffy coats as a kind of serviceable urban uniform, a look subsequently adopted by everyone from Giorgio Armani and Ralph Lauren to Chanel and Yves Saint Laurent. Nevertheless, the transformation into a bona fide fashion label springboarded in 2009 when celebrated photographer Bruce Weber was brought in to create a buzz and celebrities like Christina Aguilera, Hugh Jackman, Madonna and Kanye West took the look to the masses. For his fifth and latest campaign, Weber creates a series of whimsical images depicting models in storm jackets mixing it up on an ice cap with a few frolicking polar bears, a nod to the company’s charitable effort in collaboration with Green Chimneys, which provides animal-assisted therapy for kids, as well as care for the animals. Moncler’s success under the helm of Ruffini would no doubt please Rene Ramillon, the brand’s intrepid French founder, who began making sleeping bags in 1952 and later, in 1955, designed the first down-filled jacket for mountain climber Lionel Terray’s foray up the Himalayas’ Makalu peak, the fifth highest in the world. By the 1960s, the Moncler name was so well known for cold weather jackets that the company was commissioned as the official apparel supplier to the French team at the 1968 Winter Olympics. Four years later, at the request of the French Olympic ski team, Moncler refined its puffy jackets again using a new micro-thin nylon fabric that rendered them extremely warm yet remarkably lightweight. Since then innovation has become the company’s calling card. For example, to keep the sporty outdoor spirit of Moncler’s origins intact without layering on the bulk for summer, designer Thom Browne used the down stuffing more sparingly in his Gamme Bleu line, creating lightly quilted nylon hooded vests and shirts layered over suits, trousers, shorts and even seersucker swimwear. More recently, during the fall runway shows in New York, Moncler literally put its models on ice, as in the Wollman Ice Rink in Central Park, and had them swirl and twirl, with the Manhattan skyline as their backdrop. At the same time, professional skaters illustrated how Moncler’s penchant for experiment has paid off with jackets made of synthetics like Naplak, a material used for bags in the 1960s, and tri-laminate nylon, as well as Scottish wools, flannels and tweeds employed in unexpected ways on outerwear. “Moncler has always been a sport company, and the consumer doesn’t have to miss that message just because we are making something more tailored,” says Ruffini. The sports attitude will be forever attached to the label, he adds, “even if the person wearing it doesn’t play any sport at all.” BH
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“The sports attitude will be forever attached to the label— even if the person wearing it doesn’t play any sport at all.” —Remo Ruffini
Clockwise from left: Looks from the Gamme Rouge Fall/Winter 2012 collection and a line of eyewear in collaboration with Mykita.
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Paddle8 co-founders Alexander Gilkes and Aditya Julka.
Net Gains Just like in fashion, the art world is taking to the Web to dialogue with its clients. Paddle8 co-founder Alexander Gilkes lets us in on the conversation. As the art world has slowly but surely embraced the necessity of a life online, a crop of ambitious young entrepreneurs have actively sought out the most effective and enduring ways in which galleries, auction houses and even non-profits can migrate to the Web. Launched officially in May 2011, Paddle8 has been one of the buzzier of such endeavors, starting initially as a hub for curated selling exhibitions. Now, Paddle8 is reworking its model, focusing more intently on the buyer experience. The idea is to provide a tool for galleries and collectors whereby the process of finding and buying art can happen in an open, streamlined and traceable way. Paddle8 (which can be joined by vetted request and invitation only) hosts online previews of art fairs, spotlights goings-on in galleries and museums, provides access to non-profit benefit auctions, and offers dealers a ready-made platform through which they can sell their work. It’s a complex, multi-tentacled model, to be sure, but with dozens of high-powered partners (Gagosian Gallery, White Cube, Salon 94, the Armory Show and NADA Miami, among them), plus $4 million in newly invested venture capital funds and upwards of 100,000 page-views per day, it certainly seems to be working. The company’s SoHo offices have all the characteristics of any young, hip, energetic start-up: good address; pretty people; slick, minimalist design; rows instead of cubes and a healthy hum of activity. It shares its considerable loft-like space with Tender, the Web design company that crafted its site. The company will relocate later this year to a space of its own on the Lower East Side. Alexander Gilkes conceived of Paddle8 while working as the global marketing director (and
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IMAGES COURTESY OF PADDLE8
BY RACHEL WOLFF
Two works from the Flora portfolio, Enteromorpha Intestinalis, left, and Hydrangea Macrophylla, right, from the recent Paddle8 sale in collaboration with SHOWstudio Shop in London of Nick Knight's fine art photography.
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Mediterranean Sea, 1940s. “Gamma” men in training. The diver emerging from the water is wearing a Panerai compass on his wrist.
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At left, Empire's Borders II - Western Enterprises Inc. by Chen Chieh-Jen; below, Hold V by Antony Gormley from the recent “Encounter: The Royal Academy in Asia” sale.
occasional auctioneer) at Phillips de Pury & Company. The root of the inspiration, he says, was twofold: It came both from meeting frustrated collectors who had the money but not the wherewithal to seek out and acquire great art and from a marked trend Gilkes noticed in the salesroom at Phillips. “I was seeing the auction floor emptying out and more and more bids coming in over the phone, over the Internet,” he says. Something similar was happening in commercial galleries too, Gilkes adds, with dealers “making upwards of 70 percent of their sales through JPEG transactions.” There had to be a way to streamline and enhance the process. Then Gilkes met co-founder Aditya Julka through a mutual acquaintance. It was the perfect match: Gilkes knew the art world and the luxury market and Julka, a Harvard Business School grad, already had two successful entrepreneurial ventures under his belt (in the realms of biotech and biochemical engineering). Thus, Paddle8 was born. The British-born Gilkes came to Phillips from LVMH, where he spearheaded the brand transformation of Krug Champagne. He worked in banking before that and studied Soviet cultural politics in St. Petersburg, where countless visits to the State Hermitage Museum strengthened his already budding interest in art. At Phillips, Gilkes worked very much under the wing of the company’s chairman, co-founder, lead auctioneer and occasional DJ, Simon de Pury. He also became something of a fixture in the art world benefit scene, presiding over several charity auctions. Collecting, Gilkes believes, is more important now than ever before—and he is banking on that theory for Paddle8’s long-term success. “Technology has, in many ways, homogenized the population,” he says. “So more than ever, we strive to be individuals. The work you collect is your personal archive of your life—sort of the outward demonstration of your individuality.” BH
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Passion for Nature
Featuring “Oasi Zegna” Landscape
New Minimalism Two of fashion’s most storied houses have new designers at their helms, and with them comes a fresh attitude and approach to streamlined luxury. BY KATE BETTS he English society photographer Cecil Beaton once described Christian Dior as the “Watteau of couturiers,” most likely because of his extraordinary color sense, love of romance and curiosity about nature. If Beaton were alive today, how would he describe Dior’s new creative director, Raf Simons, and the way he hacked off the bottom of a ball gown and showed it over black pants in his first collection for the storied couture house? What would Beaton think of newly installed YSL designer Hedi Slimane and his plans to work out of his Los Angeles studio, far from the elite confines of Paris’ Avenue Montaigne couture ateliers? Before passing judgment on either designer, Beaton would have to take into account the changing times and turbulent world in which we live. Women’s roles are dramatically different today than they were back in 1947 when Dior burst onto the Paris haute couture scene with his revolutionary New Look collection. For one thing, women no longer sit around idly sipping tea at The Ritz, waiting for their fifth or sixth round of couture fittings. Even Yves Saint Laurent’s original clients, those he empowered in the 1960s and ‘70s with menswear-style pantsuits, might not choose such formal attire for today’s workplace. In fact, they might not even go to a traditional workplace; they might log on remotely from their home—and that home might be in Dubai or Shanghai. The fashion business is no longer a local cottage industry, but rather, it is a global industrial complex, thanks in no small part to Dior himself, who invented the idea of licensing his name to a multitude of luxury products. Fashion is about change, not just in the looks we see on the runway, but in the cultural evolution they reflect. Every couturier and designer brings something new—an aesthetic, a technical skill or a point of view—to the collective fashion “moment.” Designers, in turn, are shaped by the moment; they are both a reflection and a reaction to the times. Today, Raf Simons and Slimane are shaping a new sensibility that will undoubtedly influence
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Raf Simons presented his first haute couture collection for Christian Dior in a room whose walls were adorned in a solid tapestry of fresh flowers.
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the way women dress and the way they approach A look from the and appreciate fashion for years to come. That may Christian Dior sound like an overstatement, but Simons and haute couture Slimane have inherited these powerful positions at collection. a moment when women, fashion—and the business of fashion—are experiencing seismic changes. Women want clothes that are beautifully made but can move in everyday life. Designers such as Slimane and Simons are finely tuned to the global culture of fashion and the vibe of the street, not having been formed in ivory tower-style ateliers. Instead, they are products of the commercial worlds of ready-to-wear and entertainment. Accordingly, they look beyond fashion for inspiration, drawing on the disciplines, sounds and aesthetics of contemporary music, industrial design and art. Their sense of technology and how it has revolutionized our visual world has shaped their style. And they design for both men and women, often crosspollinating their ideas between the two wardrobes. For Simons and Slimane, their similarities as designers and the timing of their appointments are not a coincidence. Both have an appreciation for the rich sense of history attached to their respective brands, but they both bring their own energy and attitude to the labels. For Slimane, that means changing the Yves Saint Laurent brand name from YSL to Saint Laurent Paris, as the French refer to the brand as “Saint Laurent” and never say “YSL.” For Simons, fusing history with modernity is the driving idea behind his approach to Dior. Recognizing that house’s extremely architectural approach to constructing clothes, Simons wants to honor that precision but bring the attitude up to date. “We all know and we all perceive Christian Dior in a very specific way,” Simons said in one interview. “In looking back, you really start to investigate how it’s made. Finding myself in the house now, I discover many more things that I didn’t see before—specific codes, gestures and attitudes. Dior was an extreme architectural designer.” Their working styles have changed, too. Slimane has announced that he will work for the fabled Parisian brand from an atelier in Los Angeles. And why not? As YSL founder Pierre Bergé points out: “The creative studio is in a designer’s head, it resides within the person. Hedi lives in Los Angeles. He should be left to do fashion in a city he likes.” And if women are dressing to suit their dynamic, modern lifestyle, then designers must tune into their frequency. Slimane’s present and future clients might not be society women who spend their days lunching at L’Avenue. Rather, they might be movie executives taking meetings at Café Gratitude or Silicon Valley entrepreneurs redefining the digital landscape. Just as women’s roles have changed, so have designers’. In addition to
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creating ready-to-wear for YSL, Slimane will also redesign the YSL boutiques with a new Los Angeles-inspired concept and photograph the advertising campaigns himself. Image-making is no longer compartmentalized between skill sets— a designer of clothing can also be a designer of images. The legacy of designers such as Yves Saint Laurent and Christian Dior is that they didn’t just design clothing, they created worlds that women could inhabit. Dior’s world was one of Watteau-like colors, nature, sophistication and Parisian romance, while Saint Laurent’s was one of sexual empowerment and multicultural awakening. Like Slimane, Simons has a sense of modernity that will drive a new couture aesthetic—one that is very different than the idea we have harbored for so long about couture; this idea that it is a lost art, that it is clothing worn only by very rich women. In Simons’ hands, couture will have an attitude again. And that is exciting. For his first Dior show, held at a private hotel particulier on Paris’ Right Bank, Simons managed to weave in all of Dior’s codes—color, romance, nature—without sacrificing his own design aesthetic. In the most dramatic gesture, he covered the walls of each salon in fresh orchids, irises, peonies and roses. Against this most romantic and extravagant backdrop he sent out the simplest silhouettes—first, a plain black pantsuit, beautifully cut in Dior’s famous Bar Jacket shape; then, a series of gossamer tulle cocktail dresses with modern and historical embroideries. The coup of the collection, however, the real meeting of old and new, came in a series of strapless ball gowns that had been chopped off—literally—at the hips and paired with sleek, modern black pants. In a video interview he conducted after the show, Simons said that the gesture—pairing cut-off couture dresses with pants—changed the whole attitude of the brand. “It’s a whole different dynamic and energy,” Simons explained. “The girl can move, put her hands in the pockets. It doesn’t become this kind of ‘don’t touch it, only look at it’ situation. It’s an attitude thing.” Just as Dior’s famous bell-shaped New Look skirt and structured Bar jacket spoke to the feminine, luxurious image women of the 1950s wanted to convey, Simons’ and Slimane’s sleek pantsuits and rigorous silhouettes evoke the hardcharging, complex lives of women today. When Slimane talks about his favorite Yves Saint Laurent silhouette, the tuxedo as portrayed by Helmut Newton in his famous 1975 Rue Aubriot photo, we think not of fragile, elusive couture clients, but of powerful women who are running the world—from Washington, D.C., to Wall Street. BH
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Both Raf Simons and Hedi Slimane have an appreciation for the rich sense of history attached to their respective brands, but they both bring their own energy and attitude to the labels.
Magnificent Obsession BY WILLIAM KISSEL
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COURTESY OF LORO PIANA
Pier Luigi and Sergio Loro Piana travel to the ends of the earth in their search for fine fibers.
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n a chilly fall day high atop the Andes mountains, Pier Luigi Loro Piana intensely scrutinizes the delicate downy fur of a recently sheared vicuña with the intense gaze of a gold prospector seeking fat flecks of ore in his sieve. Loro Piana has performed this ritual many times over the past two decades as head of a consortium of textile makers charged with controlling the worldwide sale and distribution of the rare vicuña fiber. But these days, Loro Piana is more than a mere figurehead; he and his signature company now own the Peruvian land these native mammals related to the llama call home. Back in May 2008, the family-owned Italian textile and clothing maker acquired 5,238 acres of land in Peru’s Lucanas Province, about 12,000 feet high in the Andes, and completely fenced the property—about six times larger than New York’s Central Park—into the world’s largest privately held reserve to safeguard and breed vicuña. Once an endangered species, vicuña numbers are steadily growing thanks to the company’s efforts and both Pier Luigi, nicknamed “Pigi,” and his brother Sergio, who serve as co-chief executives of their century-old brand. They have made the rare fiber the top tier in their heavy arsenal of luxury fabrics used to make some of the world’s finest clothing. “Now that the diamonds are back on the market we’ve decided to start our own mine,” is how Sergio explained the land purchase shortly after the deal was struck. Due to the rarity of the material, vicuña production remains a relatively small operation, explained Sergio, “but a very important one in terms of prestige. I don’t know anyone who would spend 30 years to acquire 200 animals, just to satisfy a dream to have access to the finest fiber in the world,” he says. After a short pause he adds, “except us, of course.”
ince the two brothers gained control of the family business nearly four decades ago, Sergio and Pigi Loro Piana have made it their life’s ambition to create one of the world’s most formidable luxury brands predicated entirely on rare fibers. That includes fine-micron Merino wool, baby cashmere, lotus flower and vicuña, among others. Securing such fiber used to create the fine cloths for their iconic clothing has led the brothers on a Marco Polo-like expedition to the four corners of the globe, from high in the Andes to the shores of New Zealand and Australia to the Gobi desert in Mongolia. Therein lies the secret formula that makes Loro Piana such an anomaly in the fashion world. Unlike other Italian brands that focus exclusively on trend, the Loro Pianas remain faithful men of the cloth. With little regard for time and cost—something no stockholder
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“Unlike other Italian brands that focus exclusively on trend, the Loro Pianas remain faithful men of the cloth.”
It’s easy to understand how the Loro Pianas come about their obsession with fine cloth; it’s practically hot-wired into their DNA.
of a publicly held company would ever permit—the brothers have used unconventional business wisdom and turned down numerous acquisition offers for their $697 million brand for the simple sake of doing things their way. “Our reward is that we are able to develop a totally new frontier in the quality of fine fabric, and the consumer can count on a brand that is not forced to compromise too much when looking for quality,” explains Sergio. ooking back at the company’s history, it’s easy to understand how the Loro Pianas come about their obsession with fine cloth; it’s practically hot-wired into their DNA. Their great-great-grandfather, Giacomo Loro Piana, started out as a cloth merchant in the early 19th century, and more than a century later, in 1924, their great uncle Pietro founded the family textile business in Northern Italy’s Corso Rolandi, which is still the site of its headquarters. After World War II it was their father, Franco Loro Piana, who recognized the potential to grow the company by exporting their Italian-made cloths throughout Europe, Japan and the United States. For their part, Sergio and Pigi have broadened the family brand far beyond the reaches of fiber accumulation. In the late 1980s, the brothers expanded into men’s and women’s clothing and, 10 years later, introduced the first Loro Piana stores, of which there are now more than 135, including one at Bal Harbour, all of which account for nearly 70 percent of the sales of their signature brand
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apparel worldwide. Simultaneously, they shrewdly aligned their name with the world of prestige sports such as equestrian show jumping, polo and international yacht racing as a means of connecting with consumers who, as Sergio says, “don’t just play but actually live these lifestyles.” Most important are the Loro Piana products that result from such sporting sponsorships. ake, for instance, the development of the brand’s hugely successful Defender jacket and vest, as well as its patented Storm System fabric technology, all the result of testing products on actual sailors, some of whom were involved in this summer’s Loro Piana Superyacht Regatta in Sardinia. The Defender, developed more than 13 years ago, is still in the Loro Piana collection. Likewise, the brand’s signature Horsey jacket, developed in 1992 for the Italian equestrian team to wear during the summer Olympics in Barcelona, Spain, is still among Loro Piana’s top selling items. “Most of the items in our collection were born for a specific purpose before being added to our line,” Sergio confirms. Eschewing the of-the-moment design philosophy that drives so many designer brands, he notes that “many of the best sellers in our collection are now more than 10 years old.” The reason for such product longevity, he says, is that, unlike clients who buy by brand, the Loro Piana customer is, quite simply, “more sensitive to quality and elegance than to the whims of fashion.” BH
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Bal Harbour Shops | C-390 Third Floor, 9700 Collins Avenue, Bal Harbour, Florida | 305.749.3700
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A rendezvous in Paris is the perfect excuse to step out in the season’s sexiest looks—even if you’re accessorizing with a pram. PHOTOGRAPHY SATOSHI SAÏKUSA STYLING BY YASMINE ESLAMI
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Alexander McQueen wool-and-lace dress, 305.866.2839; Pomellato topaz-and-diamond ring, 305.866.1225. 000 BAL HARBOUR
Céline wool coat and pants available at Neiman Marcus, 305.865.6161; Hermès scarf, 305.868.0118; Wolford bra, 305.868.4044. 128 BAL HARBOUR
Yves Saint Laurent printed chiffon dress, belt and boots, 305.868.4424.
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Ralph Lauren Black Label velvet jacket and pants, 305.861.2059.
Hermès silk scarf, 305.868.0118; Roland Mouret dress available at Neiman Marcus, 305.865.6161.
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Marc Jacobs coat and shoes, 305.864.2626; La Perla lingerie, 305.864.3173; Wolford stockings, 305.868.4044; Chanel sunglasses, 305.868.0550.
Stella McCartney jacket, dress and sunglasses, 305.864.2218.
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Chanel silk shirt, leather pants, tweed-and-leather purse and jewelry, 305.868.0550; Roger Vivier stilettos, 305.868.4344; Wolford stockings, 305.868.4044; La Perla bra, 305.864.3173.
Diane Von Furstenberg leather-and-lace jacket and skirt, 305.865.1850; La Perla lace bodysuit, 305.864.3173; Pomellato earrings, necklace and pendants, 305.866.1225.
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Valentino leather jumpsuit, 305.867.1215; Hermès Kelly bag and leather bracelets, 305.868.0118.
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Lanvin wool coat, belt and boots 305.864.4254; Stella McCartney lace panties, 305.864.2218; Wolford stockings, 305.868.4044. Photographer: Satoshi Saïkusa/Jed Root Stylist: Yasmine Eslami/Jed Root Photographer’s Assistants: Romain Diani and Lucas Laurent Stylist’s Assistant: Clémence Belin/Jed Root Hair: Claudio Belizario/Jed Root Makeup: Damian Garozo/Jed Root Model: Martha Streck/IMG
DOUBLE TAKE All dressed up with nowhere to go? Not in one of these eye-catching looks. PHOTOGRAPHY BY TESH STYLING BY MARY ALICE STEPHENSON
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Lanvin dress and boots, 305.864.4254; AESA neck cuff.
CĂŠline jumpsuit with fur collar and Miriam Haskell ring, both available at Neiman Marcus, 305.865.6161.
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Bottega Veneta dress, 305.864.6247; Fenton cuff and bracelet available at Intermix, 305.993.1232; Alexis Bittar cuff available at Neiman Marcus, 305.865.6161 and Intermix, 305.993.1232; Miriam Haskell earrings available at Neiman Marcus, 305.865.6161; Guiseppe Zanotti platforms, 305.868.0133.
Jason Wu silver fur jacket, blouse, pants, heels and gloves available at Neiman Marcus, 305.865.6161 and Saks Fifth Avenue, 305.865.1100.
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Fendi jacket, leggings, shoes and bag, 305.861.7114; Alexis Bittar cuff available at Neiman Marcus, 305.865.6161 and Intermix, 305.993.1232.
Etro dress; Gucci shoes, 305.868.6504; Roger Vivier clutch, 305.868.4344; Anton Heunis necklace available at Neiman Marcus, 305.865.6161.
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Marchesa gown available at Neiman Marcus, 305.865.6161; Lulu Frost earrings.
Donna Karan bustier, pants and black cuffs available at Neiman Marcus, 305.865.6161 and Saks Fifth Avenue, 305.865.1100.
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Prada pants, jacket and maryjane heels, 305.864.9111; Alexis Bittar rings available at Neiman Marcus, 305.865.6161 and Intermix, 305.993.1232.
Prabal Gurung dress and pants available at Oxygene, 305.864.0202; Fenton cuff and ring available at Intermix, 305.993.1232.
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Carolina Herrera gown, 305.867.7590; Miriam Haskell earrings available at Neiman Marcus, 305.865.6161. Photographer: Tesh/Ray Brown Stylist: Mary Alice Stephenson/Brydges Mackinney Photographer’s Assistants: Mason Dent and Jarrod Turner Hair: David Cruz/Ray Brown Makeup: Tracy Alfajora/Joe Management Model: JP/Major Models
go figure
What better place than a private beach to strike a pose in the season’s standouts? PHOTOGRAPHY BY GREG LOTUS STYLING BY LORI MESSERSCHMITT
Carven red satin dress available at Saks Fifth Avenue, 305.865.1100; Eddie Borgo necklace and cuff available at Oxygene, 305.864.0202; Casadei shoes available at Neiman Marcus, 305.865.6161. 152 BAL HARBOUR
Lanvin dress, 305.864.4254; Marni pumps available at Saks Fifth Avenue, 305.865.1100; Roger Vivier clutch, 305.868.4344; Eddie Borgo earrings available at Oxygene, 305.864.0202
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Cushnie et Ochs dress available at Intermix, 305.993.1232; Charlotte Olympia platforms available at Neiman Marcus, 305.865.6161; Tiffany & Co. earrings, 305.864.1801.
Thakoon dress available at Neiman Marcus, 305.865.6161 and Saks Fifth Avenue, 305.865.1100; Elsa Peretti for Tiffany & Co. bracelet, 305.864.1801; sylist’s own head piece.
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Stella McCartney dress, 305.864.2218; Versace boots, 305.864.0044; Tiffany & Co. cuff, 305.864.1801.
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Miu Miu blouse, 305.993.2300; Donna Karan pants available at Neiman Marcus, 305.865.6161 and Saks Fifth Avenue, 305.865.1100; Hermès scarf, 305.868.0118; Stella McCartney pumps, 305.864.2218.
Missoni jacket available at Neiman Marcus, 305.865.6161 and Saks Fifth Avenue, 305.865.1100; Van Cleef & Arpels bracelet, 305.866.0899.
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Versace dress, 305.864.0044; Lanvin heels, 305.864.4254; Elsa Peretti for Tiffany & Co. cuff and earrings, 305.864.1801.
Wolford swimsuit, 305.868.4044; Cacharel pants available at Neiman Marcus, 305.865.6161 and Saks Fifth Avenue, 305.865.1100; Jimmy Choo boots, 305.864.3656; Sonia Rykiel vintage headpiece.
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Valentino jumpsuit, 305.867.1215; Roger Vivier boots, 305.868.4344; Eric Javits hat available at Neiman Marcus, 305.865.6161 and Saks Fifth Avenue, 305.865.1100; Eddie Borgo ring available at Oxygene, 305.864.0202.
Photographer: Greg Lotus Stylist: Lori Messerschmitt Photographer’s Assistant: Alexander Larson Hair: Andrea Battista/MC2 Model Management Makeup: Daniela Klein/MC2 Model Management Model: Bruna Tenorio/Women Management
Looking for some extra attention this season? Try turning up the heat with fall’s fiery shades. PHOTOGRAPHY BY CAMERON KRONE STYLING BY MARY ALICE STEPHENSON ILLUSTRATIONS BY SI SCOTT
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Gucci dress, 305.868.6504; Christian Louboutin boots available at Neiman Marcus, 305.865.6161 and Saks Fifth Avenue, 305.865.1100; Alexis Bittar ring available at Intermix, 305.993.1232 and Neiman Marcus, 305.865.6161.
Dior dress and sandals available at Saks Fifth Avenue, 305.865.1100; Mawi necklace; Fallon cuff and butterfly ring available at Intermix, 305.999.1232; Valentino handbag, 305.867.1215; Alexis Bittar rings available at Intermix, 305.993.1232 and Neiman Marcus, 305.865.6161.
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Michael Kors sweater, skirt, belt and sandals, 305.864.4144; Tuleste Market and Lulu Frost necklaces.
Valentino coat, 305.867.1215; Roger Vivier heels, 305.868.4344; Alexis Bittar necklace, ring and cuffs available at Intermix, 305.993.1232 and Neiman Marcus, 305.865.616. 168 BAL HARBOUR
Roberto Cavalli dress, 305.865.1749; Giuseppe Zanotti heels, 305.868.0133; Alexis Bittar earrings, cuff, bangles and ring available at Intermix, 305.993.1232 and Neiman Marcus, 305.865.6161; Aesa cuffs available at Intermix, 305.993.1232. Photographer: Cameron Krone/Artmix Stylist: Mary Alice Stephenson/Brydges Mackinney Photographer’s Assistants: Christopher Bisagni and Chris Grunder Hair: Thanos Samaras/L’Atelier Makeup: Munemi Imai/Magnet Agency Model: Valeria Dmitrienko/Women Management
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bal harbour shops
tel 305.864.8600
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Experience shopping like never before at the legendary Bal Harbour Shops, just a stroll away from our beachfront hotels. Stir the Senses with Unscripted, a Bal Harbour Creative Project featuring pubic art installations. Nourish the mind, body and soul with exclusive beachside workouts or at one of our taste tempting Bal Harbour restaurants.
Located at the Northern tip of Miami Beach. Bal Harbour, where life meets style.
www.BalHarbourFlorida.com
NEW SoundLink® Bluetooth® Mobile speaker II You’ve got the music on your phone or other Bluetooth® device. Now enjoy it with better sound. Flip open the Bose® SoundLink® Bluetooth® Mobile speaker II, and connect wirelessly to your smartphone, tablet or other Bluetooth® device, including Apple® and Android™ devices.
NEW Bose® SIE2 sport headphones Engineered for exercise™ with sweat-resistance, secure fit and Bose® sound.
Bose® SoundDock® 10 Bluetooth® digital music system The best-performing Bose® SoundDock® system, the SoundDock 10 Bluetooth® system has the powerful sound and versatility to be your primary music system. Dock your iPod or iPhone, or wirelessly stream from your Bluetooth device – and bring your digital music to life.
Bal Harbour Shops 9700 Collins Ave, Suite 252 Bal Harbour, FL 33154 305-867-1818 Authorized Dealer
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Sterling Silver buckles with inner movements of vintage pocket watches, circa 1930-1960. Limited and numbered. Shown on a suede alligator strap. Made exclusively for J.W.COOPER
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Miami’s Best Authentic Parisian Brasserie Under The Swaying Palm Trees.
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Come discover the new home of Opera Gallery
Bal Harbour Shops • 2nd floor, #261 • 9700 Collins Avenue • Bal Harbour, FL 33145 • Tel: 305 868 3337 miami@operagallery.com • www.operagallery.com • Monday to Saturday 10 am - 9 pm • Sunday 12 pm - 6 pm PARIS . MONACO . LONDON . GENEVA . NEW YORK . MIAMI . HONG KONG . SINGAPORE . SEOUL . DUBAI
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NYC’s HIPPEST SALON NOW OPEN AT BAL HARBOUR SHOPS OPEN LATE UNTIL 10:00 PM APPOINTMENTS (305) 864-3978 ONLINE AT: REDMARKETUSA.COM
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The Fashion Sneaker Store Bal Harbour Shops 305.864.1099 www.addictmiami.com
2012-2013 SEASON an electrifying new work from Alexei Ratmansky the symphonic power of the Opus One Orchestra a World Premiere from a young choreographer who’s taking the ballet world by storm, The Royal Ballet’s Liam Scarlett passionate and innovative masterpieces from legendary choreographers including George Balanchine, Jerome Robbins and Paul Taylor we welcome you to enjoy it with us!
Adrienne Arsht Center October 2012 – May 2013 Miami
Tickets from $20 miamicityballet.org 305.929.7010 lourdes lopez Artistic Director
MCB IS SUPPORTED IN PART BY AN AWARD FROM THE NATIONAL ENDOWMENT FOR THE ARTS. ART WORKS. SPONSORED IN PART BY THE STATE OF FLORIDA, DEPARTMENT OF STATE, DIVISION OF CULTURAL AFFAIRS, AND THE FLORIDA COUNCIL ON ARTS AND CULTURE. MCB PROGRAMMING IS MADE POSSIBLE WITH THE SUPPORT OF THE MIAMI-DADE COUNTY DEPARTMENT OF CULTURAL AFFAIRS AND THE CULTURAL AFFAIRS COUNCIL, THE MIAMIDADE COUNTY MAYOR AND BOARD OF COUNTY COMMISSIONERS. CITY OF MIAMI BEACH, CULTURAL AFFAIRS PROGRAM, CULTURAL ARTS COUNCIL. A COPY OF THE OFFICIAL REGISTRATION AND FINANCIAL INFORMATION MAY BE OBTAINED FROM THE DIVISION OF CONSUMER SERVICES BY CALLING TOLL-FREE (800) 435-7352 WITHIN THE STATE. REGISTRATION DOES NOT IMPLY ENDORSEMENT, APPROVAL OR RECOMMENDATION BY THE STATE. MCB REGISTRATION NUMBER: CH1034. photo: skyler lubin, Photo © Gio Alma.
Hotel deCharme In the heart of South Beach 1701 James Ave - Miami Beach, FL 33139 Phone 305.672.6688 Fax 305.532.1676 www.cadethotel.com www.piedaterrerestaurant.com
Charity Case
Trevor Neilson
“The days of red carpet philanthropy are largely over,” says Trevor Neilson, 40, on a sunny Friday afternoon. It’s a surprising thing to hear from the co-founder of Global Philanthropy Group, a company based in Los Angeles that has become known for advising celebrities such as Madonna, Bono and Shakira on their philanthropic activities. “That’s not to say there won’t be events,” Neilson continues. “But a lot of people make the mistake of thinking the gala itself is philanthropy. We develop much more sophisticated, permanent strategies; it’s not a one-night stand.” Neilson, handsome, fit and dark-featured, has been up since 5:30 a.m. On a usual weekday, in the early morning hours, he can be spotted paddling on his surfboard in the ocean near his Pacific Palisades home, and then making lunch for his seven- and four-year-old daughters. “I was lucky to have married Maggie. She and I have a similar set of values,” he says, pointing out that they both grew up in the Seattle area. Maggie was a technology executive at Amazon.com before becoming CEO and co-founder of Global Philanthropy. Since 2007, they have built an increasingly influential roster of clients comprised mostly of high-net-worth individuals, including Howard Buffett, son of Warren, and companies such as Bulgari and Kiehl’s. Celebrities, while attracting the bulk of the press coverage, make up just a quarter of the enterprise. Even so, this husband-and-wife team has devised strategies for many famous faces, including Demi Moore, Ben Stiller and Tory Burch. And these campaigns can take on many forms, with some celebrities, most of whom typically hear about GPG through word of mouth, approaching the Neilsons with ideas already in mind; at other times they are given a blank slate from which to craft an initial strategy. The process can take months, but regardless of the plan, Global Philanthropy researches the issues, performs due diligence about the charities and provides analytic tools to measure the actual impact made. The Neilsons have learned from their clients as well. “Shakira is crazy smart,” Maggie says. “She’s able to assess an education issue from a macro level to knowing the names of the kids in the schools she funds.” Similarly, longtime client John Legend often does his own research about
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Trevor Neilson
PHOTO SEAN MCCABE
The philanthropic adviser to Madonna and Shakira is determined to change the landscape from event-driven charities to long-lasting endeavors. BY BEE-SHYUAN CHANG
intermixonline.com
BAL HARBOUR SHOPS
PHOTO BY STEPHANIE DIANI
Trevor and Maggie Neilson in their Pacific Palisades home.
“Maggie has been the person who has taken the big ideas and turned them into a successful business.” —Trevor Neilson domestic educational reform. “He’ll give us very insightful notes or recommendations,” she says. “Also, celebrities particularly will not do something that’s not authentic to them. Every day celebs will turn down some of our ideas because they’ll say, ‘It’s just not me.’” “Maggie has been the person who has taken the big idea and turned them into a successful business,” Trevor says. Indeed, as more eyes are on Global Philanthropy, Trevor Neilson has inadvertently become the face of the company. “I think it may be because I’m more vocal at meetings and conferences,” he speculates. But it’s not a role he’s necessarily comfortable with, or one he envisioned when he was growing up in Seattle. “There’s nothing flashy about Seattle and especially South Seattle, where I grew up,” he says. “It was before the technology boom, and it was a place of middle-class families who cared about their communities. It grounded me, and that has been very helpful for me in working with a diverse group of people, whether they may be philanthropists, billionaires, celebrities or government leaders.” No stranger to diversity—he grew up the oldest of three brothers and two sisters, all adopted from Korea—Neilson credits his parents, who still live in Seattle, with giving him an early sense of what it meant to make a difference. “They taught me that each individual can make the world a better place by taking certain actions.” Even so, when he headed to Washington State University, he studied literature and had plans to enter politics. In fact, he ran for student body president at his alma mater and lost. His vice-presidential running mate would
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eventually introduce him to Maggie several years later. “That was the one good thing that came out of my campaign,” he says with a laugh. After graduating in 1994, Neilson landed a coveted internship at the White House under the Clinton administration and was later hired to coordinate travel for the president. From there, he held several positions in nonprofit organizations before returning to Seattle to work for the Bill & Melinda Gates Foundation. “I learned about philanthropy from the smartest philanthropists in the world,” he raves. “There were two big things that Bill and Melinda forever changed: the notion that you should wait until you’re old to engage in philanthropy, and to engage Americans philanthropists on global health issues.” It was there that he first worked with Bono on the charity that would eventually become the ONE campaign. “Celebrities have the ability to bring a tremendous amount of attention to an issue,” he says. Not surprisingly, it’s a lesson he’s capitalized on in growing Global Philanthropy. But these days, Neilson sees potential not in Hollywood but in South Florida. He spoke at the American Express Luxury Summit conference in Palm Beach earlier this year about luxury brands building deeper customer relationships through philanthropy and returns regularly to Wellington, where he is a co-owner of Gracida Polo. “Miami, Bal Harbour, Wellington and Palm Beach have business leaders, the equestrian community, athletes and artists,” he says. “It’s a wonderful combination.” Consequently, Global Philanthropy is looking to open an office in the area. “It’s about engaging a new generation of philanthropists,” Neilson says. “And if they in turn make a huge impact in the world, well, that’s success.” BH
BAL HARBOUR S HOPS , 970 0 COLLIN S AVENUE / T. 3 0 5 867 759 0
Tables Turned
Forty years ago, Julia Child was pretty much the only famous "chef" in America, and not even the most devoted restaurant diner could tell you who was actually cooking his dinner. All that changed with the rise of New American cuisine and the branding of star chefs around the country. Julia Reed talks about how the tables have literally turned.
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NANETTELEPORE. COM
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bout 15 years ago, my best friend’s adolescent son asked me if I’d ever dined at a Manhattan restaurant called Po. I was astonished. Taylor had always been a smart kid, but he’d grown up in a small town in the Mississippi Delta, and no one in his family could remotely be called a “foodie.” I couldn’t imagine where he might have heard about a tiny West Village restaurant whose specialties at the time included grappa-cured salmon and linguine with house-cured pancetta. The short answer is that Mario Batali was then Po’s owner. Taylor had seen Molto Mario on the still-nascent Food Network, and Batali’s rock-and-roll persona, dazzling skill and clear passion for his craft had gotten him hooked. While in college in Oxford, Mississippi, Taylor landed a job at a restaurant run by a chef who happened to be a Batali protégé; he learned how to make that same pancetta. From there he moved to New Orleans and trained with twotime James Beard Award winner Donald Link at his flagship Herbsaint Bar and Restaurant. Four years on, Taylor’s still here, executing pasta dishes on the line at the brand new R’evolution, a joint venture between Louisiana icon John Folse and Chicago’s acclaimed Rick Tramonto, late of Tru. I tell this tale to highlight the dramatic changes in the country’s food landscape (as well as our knowledge of it) in the 35-plus years since I developed my own adolescent crush on Julia Child. In those days, there were but a handful of TV cooks, including Julia, The French Chef, and Graham Kerr, a.k.a. The Galloping Gourmet. Like a lot of people, I taught myself to cook out of Mastering the Art of French Cooking and the various Junior League publications that were the only cookbooks on our kitchen shelf. My mother took me to New York to dine at La Grenouille when I was 14, but we had no idea who the chef was, and I bet no one else in the dining room did either. In those days, only a die-hard gourmet (or exceedingly devout customer) would have known—or cared about—the name of a single American restaurant chef. All that changed in the 1970s after Random House editorial director Jason Epstein dined at Chez Panisse and wrote Alice Waters a contract for a cookbook on one of the restaurant’s napkins. The dashing Jeremiah Tower arrived at Chez Panisse to cook, changed the menu from French to English,
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Julia Child was arguably the first chef to make cooking accessible. Her seminal cookbook, first published in 1961, remains a kitchen staple.
and New American cuisine was born. He went on to open Stars in San Francisco; Wolfgang Puck opened Spago in L.A., followed by Chinois on Main, cookbooks and more restaurants—even a line of frozen pizzas. On the east coast, Daniel Boulud left Le Cirque, opened the simply named Daniel, and went on to build an empire. Today, being a top chef like Boulud or Puck also means being a brand. Batali sells everything from pasta sauce and pizza pans to T-shirts and key chains. But he still runs more than a half dozen remarkable restaurants and sends acolytes like the young chef who stayed in Oxford long enough to teach Taylor a thing or two out into the wider world. Oxford is currently the home of James Beard winner John Currence, and that’s another thing: Talent used to be clustered in New York and California with Chicago in between. These days, so many talented chefs are spread across the country that the James Beard Foundation has divided the map into no less than 10 regions in which chefs vie for the top honor. The awards ceremony itself, correctly billed as the food world’s Oscars, was first held in 1991, but the Beard Foundation is not the only entity that realized early on that chefs were our next cultural superstars. The Food Network is mostly about hyped up competition, but serious chefs have found outlets as diverse as YouTube (Eric Ripert) and the Travel Channel (Anthony Bourdain). Today, Taylor would hardly be the only precocious adolescent who could name Ripert or Bourdain, or certainly Batali. He’s also not the only kid in a college town who was exposed to some high-end cooking. Boston, of course, has long been a concentrated food destination, but a University of Georgia student could dine equally well at Hugh Acheson’s Five and Ten in Athens, Georgia. (Acheson is a 2011 James Beard Best Chef in the Southeast, as well as a Food & Wine Best New Chef). Finally, in the years since Taylor put down his pencil in favor of a knife, huge numbers of students have followed suit. Time magazine reports that enrollment in for-profit culinary schools were up by 31 percent last year, and countless more wannabe food stars have taken Taylor’s route, initially signing on to dice potatoes or wash dishes just to be close to a master. And why not? Being a chef is the modern equivalent of being a rock-and-roll star. BH
WELL READ From McQueen to Moss, get inspired by these fashionable fall titles. BY ZOE SAWKA
Denis Piel: Moments This full color monograph designed by Ruth Ansel pays homage to the famed celebrity and fashion photographer Denis Piel. The volume includes images spanning Piel’s career, as well as contributions by Polly Allen Mellen and Donna Karan. (Rizzoli)
The Big Book of Chic Dive into the innovative and imaginative designs of acclaimed interior designer Miles Redd. This highly anticipated title features the designer’s myriad projects, including his own townhouse and beach house, and explores the inspirations behind Redd’s signature style. (Assouline)
Love Looks Not with the Eyes: Thirteen Years with Lee Alexander McQueen Anne Deniau’s collection of black and white photographs is a spectacular tribute to the visionary Alexander McQueen. The 400 previously unpublished photographs offer a behind-the-scenes look into the designer’s legendary couture productions. (Abrams)
Inside Rio With an introduction by Lenny Niemeyer, this vibrant title takes readers on an insider’s tour through the design-rich city of Rio. Explore the interiors of over 25 remarkable private homes. (Flammarion)
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Diana Vreeland. After Diana Vreeland Following the exhibition of the same name at the Palazzo Fortuny in Venice, this volume honors the accomplishments and personal style of the fashion editor and curator Diana Vreeland. Editors and curators Maria Luisa Frisa and Judith Clark chronicle Vreeland’s life with more than 800 photographs and quotes, as well as excerpts from Vreeland’s column in Harper’s Bazaar. (Rizzoli)
Kate: The Kate Moss Book Crafted by Kate Moss herself, in collaboration with Fabien Baron, Jefferson Hack and Jess Hallett, this intimate and reflective volume chronicles the career of the legendary model and muse. (Rizzoli)
Bottega Veneta Bottega Veneta is a brand embedded with heritage and inspired by the collaboration between designer and artisan. Creative director Tomas Maier worked closely with book designer Sam Shahid and leading journalists to create this stunning volume dedicated to the brand’s evolution and lasting impact. (Rizzoli)
FALL’S MUST-READ TITLES, FROM VINTAGE FASHION TO INSPIRING DESIGN.
Dressed to Kill London’s renowned antique clothing shop, Virginia, is a goldmine for designers and devout clothing collectors. With pieces drawn from Virginia’s private collection, this title is brimming with flapper dresses, bridge coats and feathered capes and highlights the dazzling fashion of the 1920s. (Rizzoli)
All books available at Books & Books, Bal Harbour.
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FASHION FÊTES
Amy Poehler and Stella McCartney at the Stella McCartney Spring 2012 Presentation.
Partying around the world with Bal Harbour's brands
A vineyard table setting for the Harry Winston dinner at Sunset Beach. Anna Dello Russo at the CR Fashion Book launch at The Frick Collection.
Aerin Lauder at the New York launch of Hermès’ Festival des Métiers.
Daria Strokous at Chanel.
Louise Donegan, Kenza Fourati and Linda Vojtova at Sunset Beach for the launch of Harry Winston’s Ocean Sport watch. Models at the Stella McCartney Spring 2012 Presentation
Valerie Steele at Hermès.
Charlotte Casiraghi at the Gucci Award for Women in Cinema at the Venice Film Festival. 202 BAL HARBOUR
Model at Stella McCartney.
Models at Stella McCartney.
Karlie Kloss at the launch of the Chez André pop-up club at The Standard East Village.
Enrique Norten and Sarah Gore Reeves at the CR launch.
Play games at Stella McCartney.
Aby Rosen at Hermès.
Thelma Schoonmaker, Frida Giannini and Salma Hayek-Pinault at Gucci.
Doutzen Kroes at the CR launch.
Brit Marling at Gucci.
Lindsey Wixson at Stella McCartney.
Anh Duong, Stefano Tonchi and Maria Cornejo at Hermès.
André and Alessandra Balazs at Chez André. BAL HARBOUR 203
Lily Collins and China Chow at the “Little Black Jacket” opening at Chanel, SoHo.
Margherita Missoni at Chez André.
Alexander Wang at the the CR launch.
Carine Roitfeld and Riccardo Tisci at the CR launch.
The Standard’s StndAIR seaplane. Phillip Lim at Hermès
Linda Evangelista at Chanel.
Chloe Malle at Hermès.
Linda Vojtova at Harry Winston.
Virginia Smith and Guillaume de Seynes at Hermès. Guy Trebay and Allison Sarofim at Hermès.
Stefano Tonchi at Hermès. 204 BAL HARBOUR
Jamie Tisch at Hermès.
Vladimir Restoin Roitfeld, Carine Roitfeld, Christian Restoin and Julia Restoin Roitfeld.
Johan Lindberg at Chez André.
Harley Viera Newton at Hermès.
Waris Ahluwalia at Sunset Beach.
Anne Hathaway and Stella McCartney.
Partygoers at Sunset Beach.
Frida Giannini at Gucci. Lindsey Wixson at Chanel. 206 BAL HARBOUR
BAL HARBOUR 000
PHOTOS BY BILLY FARRELL/BFANYC.COM (CARINE); OLIVIER SAILLANT (CHANEL); DAVID X PRUTTING/BFANYC.COM (STELLA); JESSE LIROLA/BFANYC.COM (CHEZ ANDRE); GETTY IMAGES (GUCCI)
Karl Lagerfeld at Chanel.
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JEWELRY AUDEMARS PIGUET 305.864.6776 BREGUET 305.866.1061 BULGARI 305.861.8898 CHOPARD 305.868.8626 DAVID YURMAN 305.867.1772 DE BEERS 305.867.7100 FP JOURNE Opening Soon GRAFF 305.993.1212 HARRY WINSTON 786.206.6657 HUBLOT 305.865.1855 IWC 305.909.6935 OFFICINE PANERAI 786.735.6446 PIAGET 305.861.5475 POMELLATO 305.866.1225 TIFFANY & CO. 305.864.1801 TOURNEAU 305.866.4312 VAN CLEEF & ARPELS 305.866.0899
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SHOES ADDICT 305.864.1099 CESARE PACIOTTI 305.861.8656 GIUSEPPE ZANOTTI 305.868.0133 JIMMY CHOO 305.864.3656 ROGER VIVIER 305.868.4344 SERGIO ROSSI 305.864.3643 TOD’S 305.867.9399
BOOKS, HOME & GALLERIES BOOKS & BOOKS 305.864.4241 CHRISTOFLE 305.864.0330 FUTURETRONICS 305.867.1818 GUY HEPNER 305.864.1037 OPERA GALLERY 305.868.3337 PRATESI 305.861.5677 SANTA MARIA NOVELLA 305.865.3334
SANTA FE NEWS 305.861.0938 SAVARIN 305.993.5563 SEGAFREDO ZANETTI 305.864.0595 ZODIAC AT NEIMAN MARCUS 305.865.6161
PERSONAL CARE/SERVICES AMERICAN EXPRESS TRAVEL 305.865.5959 BAL HARBOUR GIFT CARD 305.865.5959 ENGEL & VOELKERS 305.400.4443 GEE BEAUTY, 305.868.3533 OPTICA 305.866.2020 RED MARKET SALON 305.864.3978 WARREN HENRY AUTO LEASING 305.749.3700
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Breguet, the innovator.
Marine Tourbillon with chronograph A member of the Board of Longitudes as of 1814, Breguet was appointed Horologer to the French Royal Navy by Louis XVIII the following year. These prestigious titles, synonymous with exceptional scientific competencies, are perpetuated today through the Marine collection and the Marine Tourbillon chronograph 5837 with its titanium tourbillon carriage and silicon balancespring, escape-wheel and lever. History is still being written…
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