Bal Harbour Magazine - Spring 2016 by Bal Harbour Shops

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Nothing herein shall constitute an offer to sell real estate in jurisdictions where prior qualification is required unless we have met such qualifications. The sketches, renderings, graphic materials, specifications, terms, conditions and statements contained in this brochure are proposed only, and the Developer reserves the right to modify, revise or withdraw any or all of same in its sole discretion and without prior notice. The photographs contained in this brochure have been taken off-site and are merely intended as illustrations of the activities and concepts depicted therein. For New York Residents: All prices are estimates. This advertisement is not an offering. This advertisement is a solicitation of interest in the advertised property. No offering of the advertised units can be made and no deposits can be accepted, or reservations, binding or non-binding, can be made until an offering plan is filed with the New York State Department of Law. This advertisement is made pursuant to Cooperative Policy Statement No. 1, issued by the New York State Department of Law. (Oceana Bal Harbour Condominium CPS No. -140057, Sponsor: Consultatio Bal Harbour, LLC, Sponsor’s Address: 10201 Collins Avenue, Bal Harbour, Florida 33154). Copyright 2015 Consultatio Bar Harbour, LLC – All Rights Reserved.

contents

Model Julia Stegner wears a Dior cotton voile dress, available at Saks Fifth Avenue, and a Van Cleef & Arpels Magic Alhambra necklace with diamonds.

MATTER OF STYLE From an Irving Penn retrospective in Dallas to Thom Browne’s curatorial eye in New York, we look at the world’s most stylish Spring events and offerings. BAVARIAN DREAM Since her discovery at Munich’s Oktoberfest, Julia Stegner has become one of fashion’s most luminous stars. Not to mention one of its most grounded. CITRUS SPLASH Give in to your orange crush this season and turn heads in Spring’s juiciest hue. GREAT EXPECTATIONS Capture the romance of a bygone age with Victorian-inspired pieces. PALM SPRINGS Walk on the wild side in this season’s tropic pieces, and display your flair for the exotic. PAJAMA PARTY For the ultimate beauty rest, cuddle up in Spring’s most luxurious accessories. ONE FELL SWIPE In our social media-fueled world, these models reign supreme. Get to know a few of the leaders of the InstaPack. BLUE CRUSH Styling sensation Camille Seydoux creates a denim capsule collection for Roger Vivier. SONIC BOOM Fashion’s most revered sound man, Michel Gaubert, brings looks to life with his musical style.

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PHOTO BY RUSSELL JAMES

SPRING 2016

PHOTO BY FUMIE HOPPE

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Miu Miu leather jacket and knit shirt; Oliver Peoples Emmy retro sunglasses, available at Saks Fifth Avenue.

MIDAS TOUCH A celebrated Jeff Koons sculpture finds a new home at Bal Harbour Shops. BUCCELLATI, BABY! Lucrezia Buccellati lends her hand to the Italian house’s first fine jewelry collection for babies. MADE IN BRAZIL Meet fashion blogger Thássia Naves, whose two million Instagram followers await her every post. MISE EN SCÈNE With designers presenting collections in Chinese restaurants and in online videos starring Lady Gaga, Lynn Yaeger asks: Is the traditional fashion show outmoded? WHAT WOMEN WANT From tourbillons to the latest technology, the hottest watches are all about girl power. EAT FAT, GET THIN? With a catchy title and new research, Dr. Mark Hyman’s latest book dispels the low-fat diet myth and makes a case for good fats. CORE VALUES Fitness phenom Tracy Anderson talks about empowering women, keeping it real and her namesake method. PRINTS OF THE CITY This season, menswear mixes it up for the ultimate urban swagger. OLD BONES, NEW TRICK Monique Péan’s social consciousness informs her fossilized fine jewelry creations. THIS IS PETER COPPING’S MOMENT The talented English designer cuts a new silhouette at Oscar de la Renta, while maintaining the beloved fashion house’s singular DNA. IN THE DEEP At The Gainsborough Bath Spa, water is the way to wellness. SHELF LIFE From Bowie tributes to Cap d’Antibes blowouts, these are coffee table musts.

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Peru’s magical splendor has made it a new destination for globetrotters.

THE OUTLAW Supermodel Julia Stegner hits the hay in Spring’s most alluring whites. IT’S A SPRING THING From pattern play to the return of the slip dress, we scoured the collections for the must-have looks of the season. GLAMOUR IN THE COUNTRY This Spring, put a colorful spin on timeless styles. THE MIND’S EYE Legendary photographer Jonathan Becker discusses his first museum retrospective. DOLCE VITA REDUX A new exhibition shows how Italy’s post-war fashion industry had designs on the American consumer—then and now. THE HEART OF PERU Against the picturesque backdrop of the Sacred Valley, authentic experiences inspire luxury travel. FASHION FÊTES From Los Angeles to Miami, we capture the style set and the Bal Harbour brands they adore. AN ICON STANDS TALL Catherine Deneuve—legend of style and French cinema—reveals a few secrets one night in Geneva.

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MAGAZINE MAGAZINE

SPRING 2016

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Julia Stegner

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Julia Stegner photographed by Russell James exclusively for Bal Harbour Magazine wearing a Chanel tweed hat, muslin top, pique pants and lambskin bag; Erickson Beamon flower brooch, available at Oxygene and Lynn Ban rings.

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Welcome Note

MALENA ASSING

It is widely accepted that we are all living in a post-trend existence, which means a new kind of freedom in dressing, an open invitation to be individual. A positive message, indeed, but there is still a guiding force reflected in what the pre-eminent brands are putting forward and what the best fashion editors are shooting (and, of course, wearing themselves). Take our cover story, for example: Incredibly talented lensman Russell James sees the sexy side of Spring in our 14-page spread featuring the alluring supermodel Julia Stegner. The German beauty, who has walked for almost every major luxury brand and graced countless international covers, shows off the season’s best pieces in white, from a lacy Balenciaga to a cozy luxe sweater from Brunello Cucinelli. The look is elegant and refined, which is always on point. London-born fashion photographer Chris Craymer braves the Connecticut cold to shoot “Glamour in the Country” with stylist Laura Jones, capturing the ease of the season with silky frocks that can be dressed up or down, along with some romantic prints and easy silhouettes. And since any trends that do hit are all on Instagram, we gather the most powerful models on the visually driven social media platform and get a look at what’s engaging these new stars who yield a lot of influence. Speaking of online clout, we also catch up with red-hot Brazilian blogger Thássia Naves, who discusses her native country as well as the ubiquitous selfie. Also in the issue, we profile the busy designer Peter Copping, who has taken the reins at Oscar de la Renta. His collections are building a new constituency of Oscar fans while continuing to serve his loyal base the glamour they expect. In “What Women Want,” contributing writer Laurie Brookins talks to the leaders in global watchmaking—what used to be considered an exclusively male interest—and reveals that women’s timepieces are now taking center stage with increased importance on artistry and technology. We end on a high note with the legendary actress, muse and style icon Catherine Deneuve. We encountered her at a recent soirée in Geneva, where she talked about her love of watches and her passion for Lanvin—“when it mattered.” This timeless figure proves that confidence and wit will always be the most important trends. See you at Bal Harbour!

Publisher/Editor-in-Chief Sarah G. Harrelson

Bal Harbour Magazine Publisher/Creative Director Carlos A. Suarez Publisher/Editor-in-Chief Sarah G. Harrelson Executive Editor Tali Jaffe Associate Art Director Adriana Sandoval Assistant Editor William Miller Market Editor Shannon Adducci Contributing Writers Kate Betts, Laurie Brookins, Jackie Cooperman, Mark Ellwood, Rachel Felder, Emily Holt, William Kissel, Stella Lee, Ted Loos, Jessica Michault, Eric Newill, Degen Pener, Bee Shapiro, Alyssa Shelasky, Eugenia Santiesteban Soto, Samantha Tse, Lynn Yaeger, Janelle Zara Contributing Photographers Nico Bustos, Anthony Cotsifas, Chris Craymer, Boo George, Fumie Hoppe, Dean Isidro, Russell James, James Macari, Richard Phibbs, Mikael Schulz Distribution and Marketing Andrew Sherman Editorial Coordinator Danielle Garcia Pre-Press/Print Production Pete Jacaty Digital Imaging Specialist Matt Stevens Interns Jessica Idarraga, Gillian Sutherland Accountant Judith Cabrera Chief Executive Officer Mike Batt

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

Laura Jones is an Australian stylist and artistic director based in

New York. Formerly the assistant to stylist Edward Enninful, she has since contributed as a freelance stylist to including Italian Vogue, T: The New York Times Style Magazine and Harper's Bazaar. In “Glamour in the Country,” she and photographer Chris Craymer “wanted to capture a woman basking in the glorious warmth of spring.”

Lynn Yaeger is a fashion writer who lives in New York City and has an imaginary apartment in Paris, where she spends all, or at least most, of her time visiting flea markets. She writes frequently for Vogue, T: The New York Times Style Magazine, Travel + Leisure and the Sundance Channel’s Full Frontal Fashion website. In “Mise en Scène,” she looks at the new trend of unorthodox fashion shows, from video presentations to collaborations with curious guest artists.

Chris Craymer, a self-

taught photographer, celebrates real stories, capturing the wit and whimsy on the streets around him. In addition to his editorial work, the New York-based Londoner has also published three books: “Romance,” “In London” and “From the Heart.” For his first contribution to Bal Harbour, Craymer headed to the Connecticut countryside for a fashion shoot with stylist Laura Jones.

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Shannon Adducci is a writer, editor and stylist based in New York

City and Los Angeles. Growing up in a family that owns a 100-yearold auction house, DuMouchelle, in Detroit, Adducci was exposed to rare and important pieces of jewelry and objects at a young age. After graduating from the Medill School of Journalism at Northwestern University, she spent seven years at Departures, most recently as senior style editor. In this issue, she curates Spring’s must-have items for our trend pages.

PHOTO BY JAMIE MCCARTHY/GETTY IMAGES

Contributors

A former hedge-fund attorney, Bee Shapiro is now a contributing columnist to The New York Times Fashion & Style section. Her work has also been featured in Vanity Fair, W, Harper’s Bazaar and Fast Company. In this issue, Shapiro meets a pair of powerhouse designers: Peter Copping, who has taken over the storied reins at Oscar de la Renta, and Lucrezia Buccellati, who is adding a baby collection to her family’s legendary Italian jewelry house.

Sabrina Wirth has been working within the intersection of art, design and architecture for the past 10 years as an art consultant, curator, writer and graphic designer. In this issue, she profiles French styling sensation Camille Seydoux, who has created a new collection for Roger Vivier, and goes on-set with cover star Julia Stegner.

Laurie Brookins is an

Seppe Tirabassi is a Fashion stylist based in New York City. Born and raised in Portland, Maine, he began his career assisting stylist Ronald Burton and continues to work with Vogue México fashion director Sarah Gore Reeves. Tirabassi has worked alongside photographers including Patrick Demarchelier, Giampaolo Sgura, Russell James and Gilles Bensimon. In this issue, Tirabassi brings us the best of the Spring collections in “It’s a Spring Thing” and styled a fresh menswear shoot in “Prints of the City.”

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award-winning fashion journalist based in New York. Her work has appeared in The Hollywood Reporter, Town & Country Travel, Robb Report and Newsday. She has interviewed Karl Lagerfeld, Alber Elbaz, Carolina Herrera, Oscar de la Renta, Frida Giannini, Manolo Blahnik and Hubert de Givenchy, among others. In this issue, Brookins sits down with sartorial screen siren Catherine Deneuve, who shares her passion for watches. Brookins is currently at work on her first book.

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Tali Jaffe Minor has been Bal Harbour magazine’s executive editor since 2010. She’s also the editor of BalHarbourShops.com, which features fashion news, cultural happenings and original interviews with the industry’s most creative minds. Jaffe Minor recently traded the Northeast for Napa Valley, though continues to spend as much time as she can in Miami, her hometown. “I’m very excited about this Spring’s return of the slip dress, which instantly transports me back to my formative fashion days of the 90s.”

Jessica Michault is the editor-in-chief of the fashion industry website NowFashion.com. For more than 15 years, she has covered fashion, from Hollywood red carpets to haute-couture collections. Michault’s work has appeared in The New York Times, The International Herald Tribune and Vogue Italia, among others. Michault recently became balharbourshops.com’s fashion news editor. In this issue, she spotlights fashion’s most in-demand music genius, Michel Gaubert, and investigates the cult around Brazilian blogger Thássia Naves. 40 BAL HARBOUR

British-born, New York-based Mark Ellwood has lived out of a suitcase for most of his life. Specializing in luxury travel, fashion and contemporary art, Ellwood contributes regularly to the Financial Times Weekend, Bloomberg Businessweek, W, Departures and HowToSpendIt.com. In this issue, he details a spectacular new exhibit of iconic postwar Italian fashion at the NSU Art Museum Fort Lauderdale.

For 15 years, Eric Newill was managing editor of Miami’s Ocean Drive magazine. Today, he is a contributing editor at Orbmagazine.com. In 2012, he co-founded the magazine Vault, which was named one of the year’s hottest launches by Min Online. In New York, he worked at The Village Voice and Premiere. He has written for Interview, Spanish Vogue, German Vogue and Neiman Marcus’ The Book. Newill sat down with Dr. Mark Hyman to discuss his new book, “Eat Fat, Get Thin.”

PHOTO BY JOE SCHILDHORN (HOLT)

Contributors

Saigon bag with strap, available in 11 colors

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Photo Courtesy of the IrvIng Penn foundatIon, ©Condénast

MATTER of STYLE

Irving Penn’s Ball Dress by Olivier Theyskens for Nina Ricci, 2007

IN FOCUS

This April, the photographs of Irving Penn land at the Dallas Museum of Art. The first retrospective of the irreverent American photographer in 20 years, “Irving Penn: Beyond Beauty” celebrates the artist’s accomplishments across fine art, documentary and fashion. This survey, organized by the Smithsonian American Art Museum, will travel to five other cities when the show closes in August. Alongside Penn’s photographs will be never-before-seen Super 8 films of the artist at work in Morocco, made by his wife, Lisa Fonssagrives-Penn, which provide another layer of intimacy to this in-depth exhibition. —Kat Herriman BAL HARBOUR 43

CAUSE & REFLECT

PHOTOS COURTESY COOPER HEWITT; BASS MUSEUM; AKRIS

We are fascinated with mirrors, it might be said, because we are fascinated with ourselves. Awardwinning fashion designer Thom Browne seems to address this concern in “Thom Browne Selects,” a new exhibition he’s curating at the Cooper Hewitt, Smithsonian Design Museum. Featuring 50 of the institution’s most interesting mirrors, the show includes 18th-century French gilt bronze frames as well as pieces designed by contemporary artists such as Jim Dine. “I wanted to give the viewer the idea that his or her reflection is a work of art,” says Browne. The show also includes objects from the fashion designer’s own collection: a desk, chair, typewriter, coat stand—and 56 pairs of his mirrored shoes.

Thom Browne

WELL TREAD

This spring, the Bass Museum of Art presents “Art & Sole,” a new show that takes us into the closet of shoe aficionado Jane Gershorn Weitzman. Opening on March 8, the enviable collection includes some beautiful but nonfunctional styles including gem-encrusted soles and dahlia stilettos.

THE ARCHITECTURE OF AKRIS

Decked in Dahlias, designed by florist Jane Carroll, is among the shoes in Weitzman’s collection.

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When Akris presented its Spring collection in Paris, the brand’s approach to ready-to-wear was more literal than most. Complementing the architecturally inspired looks—with fabric created in partnership with Sou Fujimoto—were rings made in collaboration with 3D-printing house VOJD Studios. Now available at the brand’s Bal Harbour boutique, the rings take their cue from the architect’s Naoshima Pavilion in Kagawa, Japan.

For its spring program, the Miami City Ballet enlisted the help of New York sculptor Michele Oka Doner to bring choreographer George Balanchine's adaptation of A Midsummer Night’s Dream to life. Incorporating her signature naturalistic imagery, Oka Doner lends a bit of magic to the iconic ballet through fantastical costumes and sets. The Miami Beach native remains busy in other realms, as well, from a floor for the new One Ocean South Beach to her exquisite work with Christofle.

Miami City Ballet dancer Patricia Delgado as Titania in A Midsummer Night’s Dream

MAN MADE

From left: A look from Alexander McQueen’s Fall/Winter 2012 collection; an Iris van Herpen dress from the Fall 2013 collection; an Yves Saint Laurent dress, circa 1969. 46 BAL HARBOUR

This year, the Costume Institute at the Metropolitan Museum of Art looks to the future with “Manus x Machina,” a comprehensive survey exploring the intersection of technological innovation and fashion. Spanning couture and ready-to-wear, the landmark exhibition investigates how designers negotiate their increasingly mechanized industry. Among those included are Alexander McQueen, Yves Saint Laurent, Karl Lagerfeld and Miuccia Prada.

ALBERTO OVIEDO, COURTESY MIAMI CITY BALLET; ©JEAN-BAPTISTE MONDINO, COURTESY METROPOLITAN MUSEUM OF ART

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COURTESY OF THE FINE ARTS MUSEUM OF SAN FRANCISCO

The show brings together 130 garments that embody de La Renta’s innovative silhouettes as well as his whimsical imagination.

The designer with Jacqueline de Ribes, circa 1965; at left, Iman wearing one of the designer’s caftans.

A TRIBUTE IN STYLE

In March, the first major survey of fashion designer Oscar de la Renta bows at the de Young Museum in San Francisco. Curated by André Leon Talley, Vogue’s former editor-at-large—and lifelong friend of de la Renta—the show takes a holistic look at the designer from his earliest professional days in Spain to his ultimate position as an international fashion leader. Encompassing five decades of gowns and ready-to-wear, the show brings together 130 garments that embody de La Renta’s innovative silhouettes as well as his whimsical imagination. Created in collaboration with his estate, the exhibition is a love note to a legend.

THE CONVERSATIONALIST In “Couture Confessions,” out this summer from Rizzoli, Pamela Golbin, a chief fashion curator at the Musée des Arts Décoratifs in Paris, crafts a series of “impossible conversations” with icons from Poiret and Balenciaga to Saint Laurent and McQueen, based on the designers’ own quotations. Yann Legendre’s witty and precise illustrations add the visual punch.

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BAVARIAN DREAM Since her discovery at Munich’s Oktoberfest, Julia Stegner has become one of fashion’s most luminous stars. Not to mention one of its most grounded. BY SABRINA WIRTH

Julia Stegner is sitting casually in front of the mirror with her hair in the care of the stylist and her left foot in the hands of the pedicurist. With a big smile and enjoying nonstop conversation with all those around her, it is clear she feels right at home. Since being plucked from Oktoberfest in Munich at the age of 15, Stegner has walked for Valentino, Alexander McQueen and Givenchy, and has been featured on the covers of Vogue Italia, Elle, Italian Flair, i-D and Tush, to name a few. Yet this model is still very much grounded, prioritizing above all time with family, especially her husband and young daughter, Emma. What have you learned since becoming a mother? Being a parent puts everything in perspective. Before, I used to worry about everything! It’s exhausting, of course, but it’s also super rewarding. Would you want your daughter to go into the fashion industry? I’ll support her in whatever she decides to do in her life. How has the industry changed? It’s a lot more about social media now. It’s all about how many followers you have on Instagram. The fashion industry is pretty cutthroat, but I have always managed to stay grounded and not go crazy. Do you feel pressure to be active on social media? Oh, yeah! I’m not super active on Instagram. I only started in 2013 and I enjoyed it at first, but now it definitely has become work. Not all clients, but a lot will look at your social media following before deciding to book you. And many include social media in your contract, too. What’s a country you haven’t been to but would like to visit? I’ve never been to Japan, which, for someone who has been a model for as long as I have, is pretty weird. There are also so many countries in Africa that I’d love to visit. And India! You’re also an ambassador for UNICEF. How has this changed your life? UNICEF is something I grew up with— we always collected money in school and during Christmas time. Years ago with German Vogue, we took a trip to Sierra Leone with UNICEF. It was an incredible experience seeing Stegner has appeared on the cover the excitement of schoolchildren when we brought them of international editions of Vogue notebooks and pens. It was humbling, to say the least. more than 20 times.

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TRENDS

AVF mini infinity bowl, available at Nest Casa, 305.865.6313

Goyard Saigon orange crocodile handbag with hand-carved handle, 305.894.9235

CITRUS SPLASH

Give in to your orange crush this season and turn heads in Springâ&#x20AC;&#x2122;s juiciest hue. BY SHANNON ADDUCCI Michael Kors Champagne Beach sunglasses, 305.864.4144

Dolce & Gabbana lace ballet flat with crystal brooch, 305.866.0503

Henry Dean orange cube vase, available at Nest Casa, 305.865.6313

T by Alexander Wang perforated pencil skirt, available at The Webster, 305.868.6544

A look from the Salvatore Ferragamo Spring 2016 collection Handy leather serving tray, available at Nest Casa, 305.865.6313

Aquazzura Wild Thing suede sandal, available at Saks Fifth Avenue, 305.865.1100

100% Capri Capello Panama hat, 305.866.4117 52 BAL HARBOUR

TRENDS “Impossible Wardrobes” (Rizzoli), available at Books & Books, 305.864.4241

Oscar de la Renta Goa embroidered satin cabochon clutch, 305.868.7986

GREAT EXPECTATIONS Capture the romance of a bygone age with Victorian-inspired pieces. BY SHANNON ADDUCCI Chanel multi-row pearl necklace, 305.868.0550

Pomellato carved Victoria pendant, 305.866.1225

A look from the Alexander McQueen Spring 2016 collection

Santa Maria Novella bath salts, 305.865.3334 Alexander McQueen cropped jacket and ruffled lace sandal, 305.866.2839

Lalique Antoinette crystal clock, 305.537.5150 54 BAL HARBOUR

Chanel pearly white Plexiglas and golden metal cuff, 305.868.0550

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TRENDS Kotur Gilda metallic snakeskin heel, available at Calypso St. Barth, 305.866.8202

PALM SPRINGS

Walk on the wild side in this season’s tropic pieces, and display your flair for the exotic. BY SHANNON ADDUCCI

Gucci crepe de chine shirt, 305.868.6504

Hermès Rallye small oval platter, available at Nest Casa, 305.865.6313

Saint Laurent by Hedi Slimane Hawaii palm tree ring, 305.868.4424

De Vecchi Milano candlestick holder, available at Nest Casa, 305.865.6313

Cédric Charlier leaf print pleated skirt, available at The Webster, 305.868.6544 A look from the Gucci Spring 2016 collection Jimmy Choo Candy acrylic clutch, 305.864.3656 Baobab Collection Arusha Forest candle, available at Nest Casa, 305.865.6313

Tory Burch Ramie printed slingback pump, 305.867.7469

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TRENDS

Olympia Le-Tan Sleeping Alice Dizzie shoulder bag, available at The Webster, 305.868.6544

PAJAMA PARTY

For the ultimate beauty rest, cuddle up in this seasonâ&#x20AC;&#x2122;s most luxurious accessories. Sofia Emilia cashmere travel set, available at Nest Casa, 305.865.6313

BY SHANNON ADDUCCI Tory Burch silk shirt, 305.867.7469

Tome striped slim-fit trousers, available at The Webster, 305.868.6544

A look from the Etro Spring 2016 collection

Platano chaise longue, available at Nest Casa, 305.865.6313

Missoni Home embossed bedspread, available at Nest Casa, 305.865.6313 58 BAL HARBOUR

Gucci silk deconstructed coat with fur cuffs, 305.868.6504

ZEGNA.COM

BELLA HADID @bellahadid 2.6m followers Famous for: Dating The Weeknd (Abel Tesfaye), Gigi Hadid’s sister Often spotted with: Hailey Baldwin, Jesse Jo Stark, Gigi Hadid People she follows: Alli Simpson, Rihanna, Brody Jenner, Carine Roitfeld, Chanel Iman, Cody Simpson, Devon Windsor, Emily Ratajkowski Campaign promise: Appeared in Balmain’s Fall 2015 campaign Walked for: Chanel, Tom Ford, DVF, Jeremy Scott, Marc Jacobs, Moschino, Bottega Veneta

ONE FELL SWIPE In our social media-fueled world, these models reign supreme. Get to know a few of the leaders of the InstaPack. BY SARAH OWEN BAL HARBOUR 61

EMILY RATAJKOWSKI

KENDALL JENNER

@emrata 4.8m followers Famous for: Appearing in Robin Thicke’s “Blurred Lines” video Often spotted with: Lara Pia Arrobio, Jeff Magid, Gigi Hadid, Bella Hadid People she follows: Jourdan Dunn, Lily Aldridge, Olivier Rousteing, Suki Waterhouse, Lena Dunham Film fave: Appeared in Gone Girl, Entourage, We Are Your Friends, The Spoils Before Dying

@kendalljenner 49m followers High ranking: Mostfollowed model on Instagram, No.16 on Forbes’ 2015 list of top-earning models Often spotted with: Tyga, Kylie Jenner, Hailey Baldwin, Gigi Hadid, Taco Bennett People she follows: Joe Jonas, Karlie Kloss, Ariana Grande, Cara Delevingne, Coco Rocha, Lorde, Naomi Campbell Fashion spin: Recently released her clothing line, Kendall + Kylie, available at Neiman Marcus and Saks Fifth Avenue

POPPY DELEVINGNE

@poppydelevingne 1m followers Famous sibling: Cara Delevingne Often spotted with: Sienna Miller, Georgia May Jagger, Camille Rowe, Chloe Delevingne, Cara Delevingne People she follows: Kendall Jenner, Stella McCartney, Rihanna, Alexa Chung Also known as: Contributing editor at Love magazine, Chanel brand ambassador

LEONA BINX WALTON

@binxwalton 120k followers Designer spin: Recently collaborated on a collection for Superga People she follows: LilyRose Depp, Bella Hadid, Lucky Blue Smith, James Franco, Natalie Westling, Suki Waterhouse, Harry Brant, Miley Cyrus, Soo Joo, Sung Jin Park Campaigning trail: Chanel, Balmain, Fendi, Maiyet

PYPER SMITH

@pyperamerica 598k followers Model family: Lucky Blue, Pyper America, Daisy Clementine, Starlie Cheyenne Musically inclined: Plays bass for her family’s surf rock band, the Atomics People she follows: Taylor Swift, Lana Del Rey, Karlie Kloss, Beyoncé 62 BAL HARBOUR

SOO JOO

@soojmooj 357k followers Runway moments: Moschino, Tom Ford, Chanel People she follows: G-Dragon, Irene Kim, CL, T.O.P., Sang Woo Kim, Kingmck, Ji Hye Park, Sung Jin Park, Aimee Song Fashionable moment: Opened and closed Chanel Cruise 2016

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COURTESY OF ROGER VIVIER

Camille Seydoux wearing Trompette booties from her new Prismick Denim Collection for Roger Vivier; below, the Aumoniere shoulder bag and Plateau sandals from the collection.

BLUE CRUSH

Styling sensation Camille Seydoux creates a denim collection for Roger Vivier. BY SABRINA WIRTH

Roger Vivier has a new muse, and she looks a lot like a Bond girl. That’s because Camille Seydoux is related to one: Léa Seydoux, who recently starred in the Bond film Spectre, is her younger sister. When Camille dressed Léa in a stunning black and white Elie Saab dress for the 2011 César Awards, the world started to take notice of her perceptive eye and talent for putting a contemporary spin on Hollywood glamour. By the time Blue Is the Warmest Color came out in 2013, Léa had turned into an international film star, and Camille had become one of France’s most successful personal stylists. Seydoux’s strong individual style and passion for mixing classic and edgy looks drew the attention of Roger Vivier, which approached her to create a capsule collection. Coming up with a starting point was easy, she says: “The first time I really fell for Vivier was at a shoot for L’Officiel. The fashion editor had a little black Prismick that I absolutely loved.” The geometric line, first introduced in 2012, spoke to Seydoux’s sensibilities for complementary facets in fashion. Wanting to create something contemporary and timeless, she opted for denim. Inspired by the many lives denim has lived over the decades,

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Seydoux referenced style icons like Carolyn Bessette-Kennedy and Jane Birkin for the capsule collection. Her exposure to her mother’s tribal African art collection at a young age may have also been a source of inspiration. At 25, Seydoux helped her mother start a gallery in Paris, where she represented African artists. Today, the experience continues to steer her creativity as she confidently blends textures and patterns. Who exactly is the woman Seydoux has created the Denim Prismick collection for? “She’s a free spirit when it comes to fashion. She’s cool and effortless,” says the stylist of the first foray into creating looks for a large audience—rather than her private clientele. “She has attitude. She doesn’t follow trends. She likes to mix high fashion with vintage. She likes her clothes to reflect her personality.” Included in the collection are platform sandals, ankle boots, sneakers, a shoulder bag, backpack and a mini drawstring bag. Gentle shades of blue follow the traditional, fractured design of the Prismick on the outside, while the interior of the bags and shoes reveal a “little hidden cheekiness” with their playful pink leather.

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SONIC BOOM Fashion’s most revered sound man, Michel Gaubert, brings looks to life with his singular approach. BY JESSICA MICHAULT

Creating the soundtrack to Chanel’s Pre-Fall 2014 runway show in Dallas remains one of Michel Gaubert’s greatest achievements.

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Music maestro Michel Gaubert is an icon in the fashion industry. For more than four decades, he has composed unforgettable fashion show soundtracks for collections for the likes of Karl Lagerfeld, Raf Simons, Nicolas Ghesquière, Phoebe Philo, Dries Van Noten and J.W. Anderson. Known for his insatiable need to discover new sound, Gaubert— who is not a trained musician or composer—has gained a reputation for his ability to communicate the emotional essence of a collection through his unique mélange of music. Here, we speak with the sound stylist about his lifelong passion for music, how the digital age of sound has changed his job and his other creatively charming obsession. What do you remember as the first music that really moved you, one you had a visceral reaction to? As a kid, I was very much into Rolling Stones and the Beatles, but the music that really got me going was Davie Bowie and other English musicians from the early ’70s. Bowie’s The Rise and Fall of Ziggy Stardust and the Spiders From Mars was an album that really opened up my whole music life. I was going beyond the music; I was fascinated by the person, the look, the artwork, the lyrics—which were so strange. When was your ‘aha!’ moment, where you realized you could actually make money doing this, creating an atmosphere with music? I don’t think I ever realized that moment. I was maybe lucky and met the right people at the right time. In the late ’70s, early ’80s, I was asked to be a DJ at the club Le Palace. That was really the place in Paris at the time, and I met a lot of people there. But I didn’t think I would do it for the rest of my life. I began to be exposed to fashion shows through a close friend of mine, Dauphine de Jerphanion, who invited me to Mugler shows. It was there that I realized this is what I wanted to do. Mugler was such a good show director—the show mattered to him as much as the clothes. I was fascinated by the energy that all these people put in, and all the effort for something that lasted 25 minutes. Is there any particular musical form or style that’s especially interesting to you right now?

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Over the last few years I’ve gotten into more into melody. I think we’re in the mood where people like listening to melodies—things that are catchy. I’m really tired of listening to music that’s too intellectual— whatever that means! Can you think of one of the most audacious musical compilations or mixes that you’ve done for a show? There was one show we did for Jil Sander a few years back. Raf Simons did a whole show that was inspired by Lara Croft: Tomb Raider. We extracted dialogue and sound effects, and we built the whole soundtrack with it. It was very abstract, and it probably drove a few people nuts. It sounds like you have a very close relationship with the designers when you’re putting music together. Is that always the case? There are a few designers with whom I’m very close. We exchange ideas, we text, we send emails, we send images. I send them a couple of tracks to listen to. And that’s when I have a really good time. When you connect, it’s the best. And I’m ultra-connected these days. Have you ever been really surprised by the reaction to your shows? At the Chanel show in Dallas—that was fantastic. We had the luxury to have the space a few days before to do sound tests and all of that. I didn’t really know what I was going to play because I wasn’t sure what to expect from the sound system, but it turned out to be one of the best ones ever. The whole thing was was quite stunning. It got pretty emotional in the end—people cried—and that’s very rare to achieve. Is there something you always travel with—besides your laptop? When I travel I have three or four suitcases; there are a lot of things I can’t be away from! I always travel with cashmere sweaters and scarves. I cannot be without them. They’re essential. You’ve followed your passion with music, but is there anything else you ever dreamed of doing? Sure. I love images. I started my Instagram just a couple of years ago, and I have more than 169,000 followers now. I just like to play with images, and I want to try creating music for films. Are there any missed opportunities you wish you could go back and take? I decided a long time ago that I would never have any regrets. If it feels right, you shouldn’t be stressed about it. It’s not healthy to regret.

PHOTO BY @SHELBYDUNCAN, COURTESY OF MERCEDES BENZ

During Berlin Fashion Week, Michel Gaubert was the subject of a short film, co-starring Petit Michel, his puppet personal assistant.

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MIDAS TOUCH A celebrated Jeff Koons sculpture finds a new home at Bal Harbour Shops. BY NICK MADIGAN viewing contemporary works in a shopping mall doesn’t seem to be all that unusual. Unless said work is Jeff Koons’ Pluto and Proserpina—an 11foot-tall, gold-coated, mirror-polished, stainless-steel homage to a Greek myth—which is nothing short of jaw-dropping. After being shown in New York, Paris, Bilbao and Florence, the sculpture was shipped to Miami and unveiled in all of its startling splendor as part of the Bal Harbour Shops’ half-century anniversary. It will remain in the complex’s porte-cochère through the spring, on temporary loan from the Argentine developer Eduardo Costantini, an assiduous art collector. Costantini’s intent is to make Pluto and Proserpina the artistic centerpiece of his 28-story Oceana Bal Harbour residential tower, under construction a short walk away on Collins Avenue. It will keep company with another Koons piece, Ballerina, which is still being created at the artist’s workshop in Germany. Both sculptures are part of his Antiquity series, in which Koons—who famously delved into far baser concepts in his youth—revisits classical themes and adapts them to suit his idiosyncratic, fluorescent vision. Once the Oceana is finished this fall, Pluto and Proserpina will greet

With art and fashion in a perpetual lovelock,

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residents of the tower from a reflecting pool in the center of a 60-foottall breezeway that is to bisect the building. In a sense, the sculpture will still be public art, since it will be visible from the street. “It will transform the space and add magic,” Costantini said by phone from his office at the Museum of Latin American Art of Buenos Aires, which he founded. The breezeway at Oceana will be its permanent home, Costantini said, “as if it were part of the furniture.” In a videotaped interview for Oceana, Koons described Pluto and Proserpina as a “symbol of passions and of energy of life. The color yellow— gold—is like the sun, very, very bright in its intensity. You feel a continuation of life energy. It is about seasons changing, too, of going to the underworld and coming back up.” Although the sculpture immediately suggests a sumptuous palette, Koons noted that he prefers not to work with luxurious materials. “I have always worked with stainless steel, a symbol of the proletariat,” he said. Rather than 24-karat gold, the sculpture “wants to be in a color that has all the energy of life and of true value, true excitement and possibility.” In any case, the “economic aspect” of the work is not what counts. “The value in the piece,” Koons concluded, “is the art that you find in yourself, the possibility, the excitement you feel.”

PHOTO BY KOREY DAVIS

Developer Eduardo Costantini with Jeff Koons’ Pluto and Proserpina.

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BUCCELLATI, BABY! Lucrezia Buccellati lends her hand to the Italian house’s first fine jewelry collection for babies. And as always, it’s a family affair. BY BEE SHAPIRO

a new baby into the world can be. And along with the process comes this revelation: There’s now somebody infinitely more fun to dress than yourself. That was at least partly the reason why Lucrezia Buccellati, 26, the only female designer behind her family’s eponymous jewelry brand, is revamping the company’s baby line. The idea actually started some two years ago after the birth of her son. The moment got her started thinking about heritage, family and one poignant memory in particular. “I was maybe five years old and I had brought a piece of scrap crystal to my grandfather,” Buccellati says. “Who knows where I found it? Maybe it was even from the playground, but I told him it was a diamond and that he must make me jewelry from it.” Rather than laugh it off, grandfather Buccellati took her directive seriously and crafted little Lucrezia’s very first piece of jewelry: “a ring with a little teddy bear that was engraved and had a diamond in the belly,” she says. In time, the cherished object became more than a fanciful accessory. “The creativity and the experience of how that piece came together was what made me really fall in love with the jewelry world,” she says. “It played a big role in what I decided to do with my life.” Buccellati is now bringing that heartfelt sentiment to her customers. In June, the brand will debut a collection of fine baby jewelry in yellow gold with an optional diamond accents. The central motif? The teddy bear, of course. The adorable animal will be crafted into a pendant and bracelet. There will also be a teddy bear-themed silver flatware collection, cup and “jewelry” box for the tooth fairy. But the baby collection isn’t only about heritage, Buccellati emphasizes. Though she is inspired by the past, she is firmly looking ahead to create more pieces for the line. “It’s taking Buccellati tradition—like the engraving work on the teddy bear—but in a way that feels more personal and fresh,” she says.

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Ask any new mom and you’ll hear how life-changing bringing

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MADE IN BRAZIL Meet fashion blogger Thássia Naves, whose two million Instagram followers breathlessly await her every post. BY JESSICA MICHAULT PORTRAIT BY RHAIFFE ORTIZ

Brazilian blogger Thássia Naves has made waves in the fashion world with Blog da Thássia, and has earned herself more than two million followers on Instagram. Her glamorous style has made her catnip for the concrete catwalk photographers who stalk the exteriors of fashion shows—so much so that she now travels with her very own photog to capture her every look and location. We caught up with the fashion fixture—and Business of Fashion 500 member—to discuss spring style, wardrobe staples and the art of the selfie. Both of your grandmothers were designers. Is that where you first learned about fashion and its power? Yes, my grandparents definitely had a big influence on me. They were style icons. Both of my grandmothers designed and made their own clothes, and seeing this firsthand as a child made a big impression. My appreciation for good quality design definitely stems from them. What are the key trends you’ve added to your wardrobe from the Spring/Summer 2016 shows? Layering—which is more commonly associated with winter—is a big trend right now. For me it’s all about contrasting textures and materials like silk slip dresses with wool and fur coats. The juxtaposition makes this combination so interesting. I’m also into the sports-luxe vibe. I loved the bomber jackets from Chloé. For prints, I like a full-on look, like from Pucci’s Resort collection. What has been your greatest fashion experience so far? There have been so many unforgettable experiences, but I think my first time at Paris Fashion Week was really a dream come true for me.

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How does being Brazilian affect your perception of fashion? I don’t really think it affects it a lot; I feel that my style is quite multicultural and I could be from anywhere in the world. Although of course when I’m in Brazil, it influences the way I dress. I t can get so hot here, so I tend to wear lighter clothes, but I always try to stay true to my individual style. If you could have dinner with any designer living or dead, who would it be and why? Karl Lagerfeld or Pierre Balmain. I admire both of these designers and it would be an honor to have dinner with either of them. Balmain is obviously legendary and it would be so interesting to ask him about all the old film stars he designed for back in the day. In his time, actors were really big stars, and there was something very magical about that period. Karl Lagerfeld would also be a good dinner date. He’s definitely a fascinating character. What is the secret to a successful blog like yours? It’s literally just built up over time through dedication and hard work. I try to be authentic and true to myself, so when you’re genuine that really shines through. If you have the right mindset and you’re willing to work day and night then success will surely come your way. What are your tricks for taking a great selfie? That is top secret! Just kidding. To be honest, now I know my best angle and I know where the light should reflect, so I’m pretty good at it. I’m lucky that I have my own photographer, Rhaiffe Ortiz, who travels with me, so selfies aren’t always necessary. But the old adage is true: Practice makes perfect!

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For his Spring 2016 collection, Tom Ford eschewed the runway in favor of an online video starring Lady Gaga.

MISE EN SCĂ&#x2C6;NE

With designers presenting collections in Chinese restaurants and in online videos starring Lady Gaga, Lynn Yaeger asks: Is the traditional fashion show outmoded?

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Late one evening during the Fall 2015 collections, when every sensible editor and retailer had high-tailed it back to his or her Paris hotel room and ordered room service, the wilder and crazier members of the fashion flock headed straight to Le Dépot, a bar in the Marais, for the much buzzed-about, off-the-official-calendar Vetements show. The clothes were transgender, transgressive takes on classic bikers and trenches. The models, men and women, slim and not-so, were cast from a hipster café, not an agency. And the head designer, Demna Gvasalia, wouldn’t even take full credit, saying the collection was the work of his entire posse. But lest you think this Gvasalia is some kind of renegade beatnik, thumbing his nose at the fashion establishment—that is only part of the story. Shortly after his next Vetements show—in Le Président, a glitzy, overthe-top Chinese restaurant in Belleville—Gvasalia was announced as the new creative director for Balenciaga. Gay bars and Chinese restaurants might seem like nutty places for highend fashion shows, but they are merely two examples of a great wave that is crashing over the industry—a compulsion to respond to the crazy pace of information by showing clothes in new and unorthodox ways. But maybe we shouldn’t be surprised. This is an era when livestreams of major fashion events abound, when every show can be viewed instantly by any one who has the merest interest in the subject, when you can start your own blog and appoint yourself critic, or open an Instagram account and show your style to the world. Can you blame fashion houses for trying to capture our attention in ever more ambitious ways? Some younger designers seem to be questioning whether they need to stage a runway show at all. Thomas Tait, the 28-year-old who won the prestigious LVMH Prize in 2014 (and once presented a show in almost total darkness), decided to dump his London catwalk for Fall ‘16 in favor of showroom appointments. The New York designer Misha Nonoo has offered

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what she called an “Insta-Show” via Instagram. To celebrate his collaboration with H&M, Balmain bad-boy Olivier Rousteing, an Instagram star in his own right, created an insane extravaganza in an empty bank building on Wall Street, a mob scene that included a shopping event so you could buy the stuff five minutes after you saw it on the runway (not to mention a concert from the Backstreet Boys). But it isn’t only the kids who are having fun with this. The venerable Tom Ford eschewed a show for Spring 2016 in favor of an online video shot by Nick Knight and starring Lady Gaga. Riccardo Tisci at Givenchy took over a Hudson River pier for his Spring 2016 collection, working with Marina Abramović, who supplied tableaus that included a woman getting soaking wet—and even invited members of the public to view the proceedings, which were conceived as an homage to 9/11. And in Paris, Rick Owens presented a strange show in which some models carried other models on their backs, a sort of human-as-rucksack conceit whose message was meant to illustrate how women support each other. (Many in the audience found this moving, though I couldn’t help but feel for the ladies whose heads were swinging upside down for the length of the runway.) And then there are those designers for whom a fashion show is merely an excuse to ferry their fans to far-flung locales. Louis Vuitton took over Bob Hope’s estate in Palm Springs; Dior invited the gang to the Principality of Monaco. And Karl Lagerfeld at Chanel, perhaps the granddad of the kooky runway experience, has, in his long history with the house, mounted spectaculars in the Austrian Alps and the Scottish Highlands, and once schlepped an iceberg from Sweden all the way to the Grand Palais in Paris. This May, Karl will bring his chic camp to Havana, which makes you wonder: When Fidel said, “Sorry, I’m still a dialectical materialist,” could he have ever envisioned a collarless jacket made of tweedy material and emblazoned with shiny double C’s parading around in his beloved city?

PHOTO BY DAVID X PRUTTING/BFA.COM, COURTESY STELLA MCCARTNEY

Artist Marina Abramovic created tableaus for Givenchy’s Spring 2016 collection (left and top) in New York; a look from Dior’s 2014 Resort show in Monaco; Stella McCartney’s Autumn 2016 presentation at Amoeba Music in L.A.

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WOMEN

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From tourbillons to the latest technology, the hottest watches are all about girl power. BY LAURIE BROOKINS

lmost from the moment it became trendy to flash a Rolex beneath a shirt cuff, high-end watches have been traditionally rooted in a boy’s club mentality. But move over guys, the ladies are taking center stage. Women’s timepieces are moving into the spotlight, thanks to recent debuts that should appeal to female collectors emerging as the new power consumer. The most significant change among the latest introductions? While high jewelry watches embellished with diamonds and gemstones remain popular, women are increasingly expressing an interest

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in more feature-driven pieces: the beauty of a tourbillon, the convenience of a dual time zone or a world timer for traveling. Imbuing a women’s timepiece with these and other complications might seem like a simple idea and yet the industry has only recently begun paying attention. Such an irony is not lost on anyone with a cursory knowledge of watchmaking history. Abraham-Louis Breguet, roundly considered the father of modern horology, crafted two of his most famous pieces for women. In 1812 he delivered a wristwatch with an egg-shaped dial to Caroline Murat, queen of Naples and sister to Napoleon Bonaparte.

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“Our clients who are women ask so many questions. Men think about whether a watch looks cool; women want to know the why and the how in the craft. It’s very exciting.” —Pierre Halimi Lacharlotte Unfortunately, one of his most famous pieces was not finished until both its creator and recipient had passed away. In 1783 Breguet started work on a grand-complication pocket watch, a commissioned piece for MarieAntoinette. A stunning example of watchmaking, the 60-millimeter Breguet No. 160 is crafted in gold with skeleton styling and 823 parts. It was ultimately finished by Breguet’s son in 1827, four years after his father’s death and 34 years after France’s queen met her fate at the guillotine. Today valued at around $30 million, that one-of-a-kind piece makes the rounds at museum exhibitions, while Breguet continues to offer a Reine de Naples collection in tribute to Abraham-Louis’s first piece for Caroline Murat. Among the latest: the Jour/Nuit 8999, featuring a day/night indicator on the dial’s upper half—a balancewheel represents the sun, while the moon is crafted of hand-engraved titanium. Hours and minutes are found on the lower half of the diamond-paved dial, which is surrounded by a case band in 18-karat white gold and a bezel set with 131 baguette-cut diamonds totaling 5.59 carats. Indeed, when executed well, the best pieces offer a terrific balance of watchmaking artistry with just a touch of dazzle. Audemars Piguet’s Millenary collection was conceived precisely to address the changing attitudes in women’s watches, says Xavier Nolot, CEO of Audemars Piguet North America. “Throughout the history of watchmaking, women have played a huge role in the development of watches,” he says. “Movements were originally crafted to be the smallest they could be not for men’s watches or to challenge watchmakers but so they wouldn’t impact the aesthetics of jewelry design.” Among Audemars Piguet’s 2016 releases, the Millenary Pearl

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combines an off-center onyx dial with openwork styling in a pearl and diamond-set case of 18-karat rose gold. “We decided to replace the jewelry on the watch with a beautifully crafted movement,” Nolot explains. “The idea that a woman can see the beating heart of the watch, that has become a piece of jewelry in itself.” Another sign that women are seeking features rather than jewelry in timepieces: today’s accepted practice of women buying a men’s watch, if that’s the style that draws their attention. At F.P. Journe, case sizes in the 42-millimeter range, including the 2016 Octa Divine, are considered unisex pieces, says Pierre Halimi Lacharlotte, general manager of Miami-based Montres Journe America. “You find subtle details that can seem very feminine,” he notes. “Rounded corners or the beautiful curve on the tip of the hour or minute hand. A watch might feel very classic and yet its details are going to appeal to a woman’s eye.” In 2015 F.P. Journe also debuted its first women’s collection, Élégante. Like many traditional women’s watches, it features a quartz mechanical movement (that took eight years to develop in-house) and yet it’s decidedly non-traditional: When dormant for 30 minutes, the battery stops, only restarting and resetting the time once the wearer picks it up. F.P. Journe’s feature extends the battery life from three or four years to about 10. “It was not designed as a marketing idea. Rather, Mr. Journe thought, ‘How do you solve the main problem of a quartz watch?’” Lacharlotte says, adding that he expects women will continue to drive conversations of high-end watches. “Our clients who are women, they ask so many questions,” he says. “Men think about whether a watch looks cool, but women want to know the why and the how in the craft of an F.P. Journe watch. It’s very exciting.”

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EAT FAT, GET THIN? With a catchy title and new research, Dr. Mark Hyman’s latest book dispels the low-fat diet myth and makes a case for good fats. BY ERIC NEWILL

Today, Americans are heavier than ever—but this might partly be due to mass confusion. In our embrace of low-fat diets, we have inadvertently made ourselves gain weight by replacing good fats with refined carbohydrates like pasta, rice and cereals. So believes Dr. Mark Hyman, M.D., the highly respected founder of The UltraWellness Center and director of the Cleveland Clinic Center for Functional Medicine. His new book, “Eat Fat, Get Thin: Why the Fat We Eat Is the Key to Sustained Weight Loss and Vibrant Health,” details the fats we now know we should be consuming, the foods we should avoid, and the reasons we were mistaken in the first place— as well as a 21-day plan to achieving renewed vitality.

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Why are Americans today so heavy? Americans still believe in the myth that fat makes you fat, but the latest government reports have stopped recommending a limit on dietary fat (apart from saturated fat). The public believes we should be eating low-fat to lose weight, but the truth is Americans have been consuming more refined carbs and sugar, which drive obesity. Science now recommends that the best way to lose weight is to eat more fat, not less, but in the absence of refined carbs and sugar. Why are people so confused? Until a month ago our own government recommended reducing fat intake. New dietary guidelines have taken away those recommendations, but they still promote eating low-fat dairy, so there’s a huge contradiction. People are getting mixed messages. I felt

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it was really important to address this issue head-on and talk about the biology of obesity to help people understand that it’s sugar, not fat, that makes you fat. The fact is, eating fat is not only okay but even necessary to help people lose weight—it turns off the switch that controls hunger. What are the real problem foods? Sugar drives the most weight gain. It’s like a fertilizer for your fat cells. It makes you hungrier and slows your metabolism. What are the differences between fats? Everybody agrees that trans fats are bad, and omega-3 fats are good. Omega-6 fats—butter, beef, soybean oil, corn oil, canola oil—are seen by some as healthy in terms of reducing the risk of heart disease, but these refined oils are very inflammatory. They actually promote heart disease when eaten in the absence of omega-3’s. And, in the absence of carbs and sugar, saturated fats may be beneficial. But everyone agrees that sweet fat—fat combined with carbs—is bad for you, and that’s driving most of the problem. What can people do immediately? People need an oil change— switch out the bad oils for the good ones. Cut out sugar and eat olive oil, nuts and seeds, avocados, omega-3’s found in fatty fish, and then you can incorporate things like butter into your diet. What do you recommend we eat daily? We need five to six servings of fat a day. People think a 50-percent-fat diet sounds crazy, but that’s actually what the science is showing, especially for people who are overweight or prediabetic—which is 70 percent of Americans. When you go to the grocery store you want to buy good fats: olive oil, avocados, almonds and seeds, not peanuts but all the other kinds. Eggs that are pasture-raised as opposed to factory farm eggs. Grass-fed protein, whether it’s lamb or chicken or beef. You also want fattier fish like

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mackerel and wild salmon. What about people’s embrace of gluten-free food? Gluten-free cake and cookies are still cake and cookies. They still have sugar, and using rice flour instead of wheat is even more fattening because it has a higher glycemic load. Tell us about your 21-day routine. It really takes a very short time to reset your system. If you remove refined carbs and sugar and processed food and you eat all good fats, tons of vegetables and quality fruit, then your body resettles. Much of the reason people feel bad is because of the inflammation. Digestive issues, joint pain, sinus issues, headaches, whatever, their suffering is often caused by what they’re eating. In 21 days, if people eat a clean diet, whole foods and more fat, they’ll feel better. You also point to the fact that Americans don’t cook for themselves. We’ve raised the first generation of Americans who don’t know how to cook. That was deliberate on the part of the food industry to disenfranchise our kitchens. The ability to cook and feed ourselves is an essential life skill that everyone should learn to save us from a lot of suffering and illness and early death. The answer in America is in the kitchen, not the doctor’s office. What are your favorite recipes in the book? The key to feeling good is to eat what is delicious and what will help limit your cravings so you won’t feel deprived: almond pancakes with berries, which is a high-fat high-protein pancake; salad with Feta cheese; lamb chops and spinach salad with great pesto; coconut curry mussels with zucchini noodles; spicy seared salmon with zesty cabbage. Cauliflower rice is really great; it seems like a carb. Can people ever splurge? I have an 90/10 rule for a splurging, but it all must be real food, like coconut or avocado.

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“Sugar drives the most weight gain. It’s like a fertilizer for your fat cells. It makes you hungrier and slows your metabolism.”

CORE VALUES

Fitness phenom Tracy Anderson reveals the passion behind her namesake method. BY KATE G. WEAVER-GIBBS

it would definitely be “I’m Every Woman.” The inventor of the Tracy Anderson Method—a weight-loss/fitness-training technique that has garnered fans from Gwyneth Paltrow and Jennifer Lopez to Jake and Maggie Gyllenhaal—she’s an infinitely successful entrepreneur with a string of eponymous gyms and a series of popular exercise DVDs. Here, Anderson talks about empowering women, her philanthropic passion—the Breast Cancer Research Foundation—and her namesake method. Why is the Breast Cancer Research Foundation important to you? My business partner and CEO, Maria Baum, is a breast cancer survivor and one of the smartest, most kindhearted people I know. I am for women, and to empower women their physical self needs to be aligned with their intellectual and emotional selves. What have you learned from BCRF? Too much, but one compelling fact is that daily exercise is the only common denominator in disease prevention. It's vital that we move and move properly. What do you think is the hallmark of a Tracy Anderson group experience? I believe in strong messages and leading everyone who wants to work out for a good cause. I promise that anyone of any age or fitness level can participate. You only need to be willing to not judge yourself or others, and trust that I’ve got you. How do men take to the Tracy Anderson Method? They usually think it's a girl’s workout until they come to a class. Then they leave calling me a beast because they didn’t know they had muscles like that! Has your own approach to exercise changed since having children? Yes. I do it without fail, and communicate to them why I do, so that our culture becomes healthier as a whole. Wearing so many hats, you must get exhausted. Is there a song that gets you going? Sia’s ‘Unstoppable.’ That’s apt! Given the opportunity, where’s your place to escape? Soneva Fushi in the Maldives. Where do you go for retail therapy, and what are you eyeing? Bal Harbour Shops—seriously—and I have been to a lot of places! My favorite designer is Victoria Beckham and I love Tata Harper’s skincare line. If you have one wish, what would it be? That women would stop wanting to look like actresses and models. It's a waste of time and energy, and sucks away your own beauty. What is your personal mantra? Never miss out on the opportunity to be the real you.

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Anderson at the BCRF Hamptons Paddle & Party for Pink event

PHOTO BY MICHAEL BLANCHARD

If Tracy Anderson’s life could be summed up in one song,

“Daily exercise is the only common denominator in disease prevention. It’s vital that we move and move properly.” I understand you’re bringing your signature method to Bal Harbour Shops. What can we expect from the pop-up studio? A full expression of the Tracy Anderson studio experience; my triple calorie burning floor, heat and trainers leading you through classes I've designed. There will be the opportunity to work out with me via a real time video streaming platform and a boutique that showcases my favorite apparel. Why Bal Harbour and why now? Bal Harbour is an unparalleled, well curated shopping experience so when I discovered the team was passionate about health and disease prevention, I was in. This will be a chance to partner with an iconic destination to create awareness for the BCRF. For more information and class bookings, visit tracyanderson.com.

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Photographer: Fumie Hoppe Stylist: Seppe Tirabassi/Altered Agency Photographerâ&#x20AC;&#x2122;s Assistant: Ian Hoogenboom Hair: Maggie Connolly/Utopia Makeup: Kento Utsobo Model: Eian Scully/Elite Model Management

OLD BONES,

Monique Péan’s social consciousness informs her fossilized fine jewelry creations.

NEW TRICKS BY JULIE BAUMGARDNER

hile diamonds and rare stones are surely enough to build a signature jewelry brand, Monique Péan has a taste for the slightly more exotic. As a eco-jewelry designer, she’s more the type to wade in arctic waters to pluck out fossilized walrus ivory or skim the Colorado Plateau for hidden dinosaur bones—such as for her latest collection, Solcin, which was derived from her discoveries in Utah. Since the CFDA/Vogue Fashion Fund recipient formed her company in 2006, fossilized materials have become staples across her nearly dozen collections. These unique “stones,” in exquisitely geometric designs, have found their way onto the likes of Michelle Obama, Liya Kebede, Natalie Portman and many other famous faces who use their celebrity for a higher cause. Péan’s latest offerings for spring emerged from her explorations into “Utah’s rich paleontological history, varied topography and remote works of land art,” says Péan, who cites artist Nancy Holt’s Sun Tunnels and septarians—a gemstone dating to the Cretaceous Period—as inspiration.

It seems like travel plays a large role in the development of your collections. Can you tell us what you’re after? I constantly seek to interact with contemporary art and architecture and veer off the beaten path to explore the natural world. The shapes, textures and color palettes I come across in my travels always translate differently into my designs, which keeps the creative process new. How do you decide where to travel for discovery? My commitment to sustainable materials has led me to partner with artisans globally to support traditional craftsmanship, slow design and cultural

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The azurite and white diamond oval ring from Pean’s Solcin collection is made from recycled 18-karat white gold.

heritage. We work with artisans from areas including the Arctic Circle, Colombia, French Polynesia, Guatemala, Peru and the Philippines. Can you tell us about your latest collection, which resulted from your travels to the Southwest? I was excited to visit Utah’s national parks and land art, traversing the state from corner to corner. My latest collection, Solcin, is inspired by Utah’s abundant sunlight—solis—along with the geographic location of Lucin, Utah, where landscape and art merge symbiotically at the site of Nancy Holt’s Sun Tunnels. Contemporary art has always been a source of inspiration for me. Can you tell us how you discovered your core materials and how they continue to develop in your collections. Fossilized walrus ivory is the first material that I ever worked with, after being introduced to it on a trip to Shishmaref, Alaska, in 2006. The naturally broken fragments of fossilized materials we use float to the surface as ice melts in the Arctic Circle. This has become a signature of my brand, and it is incredible to work with fossils that are between 10,000 and 150,000 years old. Being an eco-company, what do you want to see changed in the industry? I would love to see more widespread use of recycled gold. Gold mining is an environmentally destructive process that releases significant amounts of cyanide, lead and mercury into local water sources. Mining enough gold for one wedding band can produce more than 20 tons of waste. There is already enough gold available to last the jewelry industry for decades to come.

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THISIS Most designers taking over a storied

brand are tapped specifically for reinvention. Not the case with Peter Copping, who, when he accepted the position of creative director of Oscar de la Renta in October of 2014, was taking on an enormous task: filling the shoes of the beloved namesake whose career continued to flourish into his 80s. In fact, the Oxford-born Englishman was leaving a plum position as artistic director of Nina Ricci in Paris. But from his Fall 2015 collection, his first for the house (de la Renta died one week after Copping was appointed), he has been a natural fit. Rather than radically imposing a new aesthetic, Copping subtly developed the house signatures, such as the nipped-waist cocktail dress and evening gowns in bright bolts of silk faille. “I don’t think it’s always so nice to come into a place and say, ‘Everything needs to change,’” says Copping. “Oscar knew I would respect the sort of woman he designed for, but you can shake things up by making small changes.” It also helps that “Oscar and I both like sophisticated women, feminine and romantic,” Copping adds. Yet Copping’s touch, however finely done, is evident. His dresses now breathe an air of modern European sophistication. Gone are the occasionally matronly stiff constructions and in their place are lightly layered skirts and intriguing print combinations. The result is that, in a little over a year, he’s attracted a new type

of customer: the next generation of Hollywood fashion darlings. Sienna Miller wowed at last year’s Oscars in a black lace gown with lean, elegant lines and soigné velvet bows. With red carpet dressing, it’s about “the right dress on the right woman,” says Copping. “I think it’s fantastic when women on the red carpet make less clichéd choices.” He points to the bold embroidered Oscar de la Renta dress Zoe Kazan recently wore to the 2016 Critics’ Choice Awards, which “looked really fresh.” As Copping settles in, there is also something wonderfully Parisian emerging from his finishes, particularly in his Spring 2016 collection. The coup was the closing runway look, an unforgettable light aqua silk taffeta gown trimmed with black grosgrain ribbons, fitted with pockets and featuring a daring standing collar. “I really do strive for elegance, but at the same time I always try to offset it with a kind of twisted beauty,” the designer explains. “When something has become too perfect I find it slightly uncomfortable. Sometimes when we’ve made the most beautiful dress I’ll ask the seamstress to take it back into the atelier and press it until it’s creased or piece-wash it to make it break down and crumple. Or something as simple as putting pockets in a specific place can be quite unexpected, and you create a new attitude.” But Copping, who is loving the fast-paced energy of New York since moving there for the job, isn’t only interested in gala and red carpet

MOMENT 144 BAL HARBOUR

wear. “The clothes I design are sophisticated and feminine, but I am also interested in what that means for day, for the office,” he says. “Plenty of people do dress up and go to charity functions, but not all the world is like that.” Indeed, the designer seems to have the modern American woman on his mind. His PreFall 2016 collection was inspired by the rich patchwork that is the U.S., and included the usual array of skirt suits and eveningwear the house is known for. But there were also a few new pieces, like a zip-front black ruched dress, which offered an appealing take on work-toplay dressing. Actually, you could easily see a

PETER COPPING’S Manhattan power woman slipping into the dress in the time it takes to hit “send” on an email. The truth is, although Copping admittedly misses “the Parisian boulangeries bakeries,” he finds New York infinitely inspiring. Working in the city, “you can see beauty in anything,” he says. “I’m looking out of my office window at the New York skyline. It’s completely industrial, grey and beige, with steam coming out of the vents on the roofs, and it’s beautiful. You have to use your eyes and see beauty in everything.”

The talented English designer cuts a new silhouette at Oscar de la Renta, while maintaining the beloved fashion house’s singular DNA. BY BEE SHAPIRO

PHOTO COURTESY OF OSCAR DE LA RENTA

“I STRIVE FOR ELEGANCE, BUT I ALWAYS OFFSET IT WITH A KIND OF TWISTED BEAUTY.”

Looks from the Oscar de la Renta Spring 2016 collection. BAL HARBOUR 145

IN THE DEEP At The Gainsborough Bath Spa, water is the way to wellness. BY MELISSA FELDMAN

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BAL HARBOUR 147

PHOTO BY ENRIQUE BADULESCU/ TRUNK ARCHIVE

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PHOTOS COURTESY OF THE GAINSBOROUGH BATH SPA

“Salus per aquam”—which translates into “health through water”—was the inspiration behind The Gainsborough Bath Spa, which debuted in September and is the only hotel in Great Britain with exclusive access to thermal waters. “We built a temple to the water, a celebration of the tradition of bath culture,” says Champalimaud design principal Jon Kastl, who with founder Alexandra Champalimaud sought to combine history with modernism in their design plan. The origins of bath culture in South West England date to the First Century AD, when the Romans discovered thermal waters bubbling near where The Gainsborough now stands. Roman bathhouses soon became a place to cure, congregate, bathe and converse. In the Georgian era, the city of Bath evolved into a well-known spa town where the fashionable flocked to luxuriate in the curative and healing properties of its thermal water. Writer Jane Austen and portrait and landscape painter Sir Thomas Gainsborough—whom the hotel is named after—settled in Bath in the 18th century, portraying the town in their respective works. Designated a UNESCO World Heritage city in 1987 and located just 90 minutes southwest of London by rail, the area is now a weekend destination for stylish urbanites including shoe designer Manolo Blahnik; it has also played home to numerous celebrities, including musician Van Morrison and filmmaker Ken Loach. “When we designed the spa we understood the program was all about the bath,” says Champalimaud, whose practice has become synonymous with luxe properties across the globe—from the legendary Hotel Bel-Air in Los Angeles to The Island House in Nassau, Bahamas. The Portuguese designer always remains sensitive to historical context while fulfilling the wishes of her client. In this instance it’s the Malaysian brand YTL, whose recent entry into the U.K. is highlighted by the five-star Gainsborough. The property is an amalgam of distinct architectural styles, including Grade II Georgian and Victorian façades that have been incorporated into the restored structure. British architect John Pinch designed the main building in the 1820s as the United Hospital; in 1935 it was relocated when the buildings were transformed into Bath Technical College and eventually renamed the Bath College of Art & Design. The structures stood empty from 2005 until YTL purchased them in 2011 and hired the London-based EPR Architects—known for their work with heritage properties—to oversee the restoration, including the construction of the spa atrium. Each of the 99 rooms and suites is distinct, painted in hues of pale blue juxtaposed with toile headboards, brown leather and dark wood. The public spaces, including the lobby and main staircase, are very much part of the structure’s original DNA, insists Champalimaud. “We didn’t want to make it Neo-Georgian; we kept it true to its beginnings.” The design of the property’s Spa Village was based on a Roman “bath circuit” of self-guided treatments from hot to cold, starting with the warm balneo pools; cool lymphatic hose; a choice of infrared or dry sauna and steam room; lavender ice alcove; and lastly the main atrium pool outfitted with streaming jets. “The tendency is to do a Jane Austen, very chintzy with doilies, and very sweet,” says Kastl. “We purposely did not go down that path. We wanted to deliver something more unique and sophisticated. A place where Jane Austen would want to go today.”

The hotel’s restaurant features inventive cuisine by Johann Leher, one of Germany’s most celebrated Michelin-starred chefs.

The spaâ&#x20AC;&#x2122;s mineral-rich water is supplied from the Hetling Spring in the center of Bath. BAL HARBOUR 149

Shelf Life

From Bowie tributes to Cap d’Antibes blowouts, this season’s books are perfectly au courant. BY ERIC NEWILL

GUY BOURDIN: A MESSAGE FOR YOU

HELMUT NEWTON: PAGES FROM THE GLOSSIES The outré visions of German photographer Helmut Newton found their ideal setting in the pages of the world’s leading fashion magazines, where his bizarre and erotic imagery mixed with edgy typography and droll text. This new edition collects more than 500 spreads created over 40 years, along with Newton’s tales of how they came to fruition. (Taschen)

In the late ’70s, photographer Guy Bourdin and his muse, Charles Jourdan model Nicolle Meyer, collaborated on a dreamlike series of images that influenced a generation. This new volume combines Bourdin’s painterly portraits with his myriad inspirations, a vision board that comes to life through Meyer’s memories. (Steidl)

DRIVE TIME For more than a century, extraordinary motorcars have influenced the equally complex world of fine watches. Author Aaron Sigmond showcases these timepieces of precision, from the Rolex Daytona up through such new beauties as the Breitling by Bentley. (Rizzoli)

POOL PARTY Art collector and bon vivant Johnny Pigozzi is a key member of the beau monde, and it seems every beautiful one of them has frolicked at his legendary Cap d’Antibes retreat, Villa Dorane. Take a peek inside this sun-kissed world, where Bono, Elle Macpherson, Mick Jagger and Naomi Campbell have let down their hair. Pigozzi’s private archives are your ticket in. (Rizzoli)

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BONNIE CASHIN: CHIC IS WHERE YOU FIND IT

Coach founding designer Bonnie Cashin used her Hollywood years dressing stars like Irene Dunne as the basis for her groundbreaking work in mid-century ready-to-wear, creating the image of the “modern woman.” Stephanie Lake includes drawings and photos from Cashin’s personal collection to resurrect an essential fashion icon. (Rizzoli)

All titles available at Books & Books Bal Harbour.

LES DINERS DE GALA Since its initial publication in 1973, twisted gourmands have practically starved themselves to find a copy of Salvador Dali’s Surrealist cookbook, filled with the artist’s otherworldly visual takes on such culinary curiosities as conger eel and thousand-year-old eggs. Happily, Taschen has now reprinted it, complete with original recipes and gustatory proclamations from the master. (Taschen)

NEW YORK IN THE 1970S Was it truly the worst of times, when the city gained the nickname the Rotten Apple? Not from the viewpoint of Philip Trager, whose compelling cityscapes portray a city bereft of humanity and thrilling in its majestic loneliness. Compiled from a trove of recently rediscovered negatives, these photos conjure a lost decade when the World Trade Center seemed eternal and The Wiz competed for attention along Broadway with the Follies Burlesk. (Steidl)

RICHARD SERRA: VERTICAL AND HORIZONTAL REVERSALS Based on a recent exhibition at New York’s Zwirner gallery, this contemplative collection includes 33 of the minimalist artist’s abstract Reversal drawings, in which he explores form and gravity. (Steidl)

BELLISSIMA!: THE ITALIAN AUTOMOTIVE RENAISSANCE, 1945 TO 1975 Alongside the Via Veneto and La Dolce Vita, the futuristic designs of postwar Italian cars and motorbikes cemented the country’s position as Europe’s aesthetic capital. This new book showcases the sheer beauty of these fantastic and rare autos. (Rizzoli)

PETER MARINO: ART ARCHITECTURE Peter Marino’s ravishing work for high-end retail clients—including Bulgari and Chanel—has made him a design superstar. This book details his collaborations with artists including Vik Muniz, James Turrell and Jean-Michel Othoniel. (Phaidon)

MICK ROCK:

THE RISE OF DAVID BOWIE,1972-1973 It was the height of the late rock icon’s pansexual Ziggy Stardust moment, and, as Bowie’s official photographer, Mick Rock captured the enigmatic and private artist at his most intimate. Taschen’s limited-edition book (only 1,972 copies) is signed by both Bowie and Rock—and worth every bit of its $4,000 pricetag. (Taschen) BAL HARBOUR 151

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Bottega Veneta dress, 305.864.6247; Lynn Ban crest rings; Fallon pearl bracelet; Lola raffia hat.

Balenciaga chalk lace embroidered dress, 305.864.4932; Brunello Cucinelli nubby wool cardigan, 305.864.4833; Delpozo platform wedge; Van Cleef & Arpels Frivole diamond rings, 305.866.0899.

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Brunello Cucinelli stretch crepe de chine top with flowers, 305.864.4833; Altuzarra Navarre dress, available at Neiman Marcus, 305.865.6161; Fallon barbed-wire gold earrings.

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Elie Saab Gardenia white lace cocktail dress, available at Neiman Marcus and Saks Fifth Avenue, 305.865.6161 and 305.865.1100; Van Cleef & Arpels Magic Alhambra diamond bracelet, 305.866.0899; and Harry Winston diamond bracelet and ring, 786.206.6657.

Alexandre Vauthier asymmetrical jersey dress with fringe and gold detailing, available at Oxygene, 305.864.0202; Lynn Ban gold coil rings.

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Derek Lam white lace top and skirt, available at Neiman Marcus, 305.865.6161; Pomellato Arabesque diamond and rose gold ring, 305.866.1225; Fallon PavĂŠ Labyrinth double ring; Tiffany & Co. diamond fringe necklace, 305.864.1801.

Derek Lam white blouse and trousers, available at Neiman Marcus, 305.865.6161; Lynn Ban pavĂŠ serpent lariat.

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Dior cotton voile dress, available at Saks Fifth Avenue, 305.865.1100; Van Cleef & Arpels Magic Alhambra necklace with diamonds, 305.866.0899.

Photographer: Russell James/Bryan Bantry Photographer Assistant: Max Bernetz Stylist Assistants: Seppe Tirabassi, Katrina Athanasiou Hair: Felix Fischer/Factory Downtown Makeup: Eric Polito/Art Department Manicurist: Fleury Rose/Bryan Bantry Tech: Polly Babcock Model: Julia Stegner

IT’S A SPRING THING From pattern play to the return of the slip dress, we scoured the collections for the must-have looks of the season. PHOTOGRAPHY BY

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FUMIE HOPPE

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Fendi chiffon top, leather woven bra and cotton braided shorts, 305.861.7114; Roger Vivier Rendez-Vous ankle boot, 305.868.4344; Akris silver python and leather clutch, 305.866.2299. Bottega Veneta embroidered denim dress, 305.864.6247; Roberto Cavalli wooden lace-up wedge and lucite cuff, 305.865.1749; Max Mara bucket hat, available at Neiman Marcus, 305.865.6161.

Opposite: Saint Laurent by Hedi Slimane patchwork satin dress and silver sandals, 305.868.4424; Miu Miu tiara, 305.993.2300; Delfina Delettrez Magic Mouse ring and yellow-gold with diamond and pearls ring, available at The Webster, 305-868-6544.

Miu Miu leather jacket, patterned skirt and knit shirt, 305.993.2300; Oliver Peoples Emmy retro sunglasses, available at Saks Fifth Avenue, 305.865.1100.

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Dolce & Gabbana striped cotton dress, leather handbag and scarf, 305.866.0503; Roger Vivier Sneaky Vivâ&#x20AC;&#x2122; leather slip-on sneakers, 305.868.4344; Fendi sunglasses, 305.861.7114.

Balenciaga cotton poplin slip dress and ostrich feather necklace, 305.864.4932.

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Givenchy studded leather and Chantilly lace sleeveless dress, available at Neiman Marcus, 305.865.6161; Alexis Bittar cuff, available at Saks Fifth Avenue, 305.865.1100.

Versace cotton print oversized felpa and wide leg trousers, 305.864.0044; Roger Vivier Micro Vivâ&#x20AC;&#x2122; Icon bag, 305.868.4344; Fendi black heels, 305.861.7114.

GLAMOUR in the COUNTRY Escape from the norm and embrace your individuality. This Spring, explore eveningwear as daywear and underwear as outerwear.

PHOTOGRAPHY BY

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CHRIS CRAYMER

STYLING BY

LAURA JONES

Balenciaga satin slipdress and brass and pearl earrings, 305.864.4932.

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Michael Kors Chantilly lace blouse and pleated skirt, 305.864.4144; Cosabella bra, available at Neiman Marcus, 305.865.6161; Jimmy Choo ballet flats, 305.864.3656.

Akris cotton knit dress, 305.866.2299; Etro bra, 305.868.5971; Bottega Veneta pony-hair sandals, 305.864.6247. 182 BAL HARBOUR

Escada silk organza skirt and hand-painted flower cardigan, 305.867.9283; Chopard 18k fairmined yellow gold cuff, 305.868.8626. 184 BAL HARBOUR

Roberto Cavalli silk dress, 305.865.1749; Etro silk embroidered ballet flats, 305.868.5971. 186 BAL HARBOUR

Chanel printed silk tulle top and pants, printed cotton voile skirt and calfskin sandals, 305.868.0550. 188 BAL HARBOUR

Etro cotton floral bra top and cream pleated skirt, 305.868.5971; Jimmy Choo ankle-strap flats, 305.864.3656; Bulgari pink gold necklace with onyx and mother of pearl, 305.861.8898.

Fendi chiffon patterned blouse, wool and silk patterned skirt, 305.861.7114; Cosabella bra, available at Neiman Marcus, 305.865.6161; Salvatore Ferragamo sandals, 305.866.8166. Photographer: Chris Craymer Stylist: Laura Jones Stylist Assistant: Tchesmeni Leonard Hair: Felix Fischer for Pai-Shau Makeup: Kouta at Jed Root for Chanel Les Beiges Model: Pania Rose Digital Imaging: Alex Dow Retouching: Smooch NYC Photo Assistants: Alfredo Fernandez, Yasunori Matsui, Pablo Calder贸n-Santiago Producer: Julia Ferrier Production Assistant: Fabiana Sala 190 BAL HARBOUR

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THE MINDâ&#x20AC;&#x2122;S EYE

Legendary photographer Jonathan Becker discusses his first museum retrospective. BY MAXWELL WILLIAMS PORTRAIT BY CHIA CHONG

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“I’

ve been talking too much,” says Jonathan Becker, photography’s unsung hero. He’s been on the phone in his car, spinning yarns that match up with photographs in “A Fashionable Mind: Photographs by Jonathan Becker,” at the Savannah College of Art and Design (SCAD) FASH, the new fashion and film museum on their Atlanta campus. The stories are all fascinating, though, and he tells them drolly: about his first job as an event photographer for W magazine while moonlighting as a cabdriver; the one about the Prince of Wales personally hiring him to shoot a dinner at Buckingham Palace; about taking a photo of a feeble Robert Mapplethorpe at his last opening before he died from AIDS; the one about sneaking a photo of his godmother, the legendary choreographer Martha Graham, backstage after her final bow, against her controlling caregiver’s wishes—the only time he had to toil in the photographer’s pit. “Sure enough, they put me behind a rope with all the other photographers, dozens of them,” Becker recalls. “I thought, What am I going to do? I’ll have to be Houdini to get my picture. I put a slightly longer lens on. I was there shoulder-to-shoulder with these fellas, but lo and behold, she saw me. And she kept her word, and started posing. So it didn’t matter where we were, because she never took her eyes off of me.” Many of the images were taken covering events or shooting portraits for Vanity Fair or Town & Country (the former where he made his name and the latter where he got his start), so to him, it was work. But it was also personal, so he shied away from art direction. “I don’t much like it when people tell me what to do,” says Becker, revealing his staunch independence. “You hired me because you want what I do. Advertisers are often selling so literally. And I’m not much of a salesman.” Becker was attracted to a mixture of artists and other creative people—but rarely actors. His mother was a choreographer and his father had been a drama critic, so he had more than enough of actors in his day. Plus, they got in the way of his liberated shooting style. “I didn’t try to shoot movie stars too much, because there are often tight constraints

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Becker captures Martha Graham backstage at New York City Center in 1990, after her final bow, with Madonna and Calvin Klein.

there,” he says, “but with artists, there seems to be a common ground. It’s most enjoyable to collaborate with artists. They’re image-makers, too.” The SCAD retrospective came about when fashion icon and Vogue contributing editor André Leon Talley dropped by Becker’s studio. “I had come out with ‘30 Years at Vanity Fair’ but I had another book in prototype that was more difficult to publish,” says Becker, who hadn’t shown at a museum or gallery in 30 years. “It’s a sequence of images that was done by the great editor Mark Holborn, a visual narrative that tells the story of my work through pictures. André saw this book and that led into the idea of doing an exhibition. It turned him on. It’s not much more complicated than that.” Becker’s no-nonsense nature harks back to his time spent studying under the tutelage of the legendary artist Brassaï. Paula Wallace, the founder and president of SCAD, thinks it’s this time spent with the Hungarian master—who was best known for his achingly romantic photographs—that most informs Becker’s work. “To be surrounded by Jonathan’s work is to be immersed in the full spectrum of the human experience—only amplified,” says Wallace. “In the presence of Jonathan’s oeuvre, I recall the lessons that his mentor, the Brassaï, imparted when he urged Jonathan to study humanity—to build rapport with subjects to reveal their inner light. The total effect is illuminating and intimate. Through Jonathan’s photography, we can peek over Prince Charles’ shoulder at a royal dinner or pal around the kitchen with Andy Warhol at Elaine’s restaurant.” The portraits Becker takes are full of their own sort of romance of a time gone by. Which may be why the most striking thing about his work is the journey through time on which his pictures take us. “What is greater than time?” Becker asks rhetorically. “All you’re doing is documenting a little piece of it, but it’s always in the context of greater time, so when you look back at a picture—even when you look back a minute later at a photograph that’s digital or a Polaroid—the magic of photography is that it gives the illusion of freezing time, that you can take a moment and examine it. Time is primordially important to any art.”

Becker’s photograph of a model from Carolina Herrera's Fall Collection show in New York, 1982.

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DOLCE VITA REDUX A new exhibition shows how Italy’s post-war fashion industry had designs on the American consumer—then and now. BY MARK ELLWOOD

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PHOTO BY LUCA PALMER; COURTESY NSU ART MUSEUM FORT LAUDERDALE

More than 230 pieces ranging from gowns and textiles to jewelry and leather goods showcase postwar Italian fashion in the NSU Art Museum Fort Lauderdale’s exhibition “Bellissima.”

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PHOTO BY STUDIO ORIZZONTE; COURTESY NSU ART MUSEUM FORT LAUDERDALE

ong before Armani, Versace and Dolce & Gabbana—or even Milan Fashion Week—a cadre of designers brought Italian dolce vita to international catwalks in the wake of World War II. Now mostly forgotten, creations by the likes of Roberto Capucci, the Sorelle Fontana and Irene Galitzine helped establish the country as an arbiter of style; together, they created a wearable counterpoint to French haute couture. A new exhibition at the NSU Art Museum in Fort Lauderdale, “Bellissima: Italy and High Fashion 1945-1968,” aims to rectify this oversight, allowing these talents to reclaim their place in fashion’s pantheon. It tells the story of how Italy’s postwar designers shaped the way we dress today via more than 200 curated pieces from the archives and closets of some of Italy’s most glamorous women. The key to Capucci and company’s success, explains the museum’s director, Bonnie Clearwater, is in how they embraced a simpler sense of style. “The Italian designers brought a timeless elegance to contemporary style that influences the ready-to-wear fashion that began to flourish in the 1980s,” she says. “Their designs were the forerunners of today’s fashion.” Fittingly, a trio of contemporary style arbiters, Italians themselves, were tasked with curating this show: W magazine Editor-in-Chief Stefano Tonchi, critic Maria Luisa Frisa and Anna Mattirolo of Rome’s MAXXI museum, where the exhibition originated in a more truncated form in 2014. Clearwater points out how appropriate the show’s stint stateside will be, given the role America’s Marshall Plan played in helping nurture Italy’s textile industry in the postwar period. “That was the economic engine that put skilled labor back to work, invested in fashion designers who worked closely with the factories, and marketed the ‘Made in Italy’ brand as significant,” she says, adding that “the emphasis was on exquisite tailoring and wearability, both aspects that appealed especially to the American consumers. This strengthened the trade relations between the countries.” Of course, the special relationship went beyond dressmaking: In the postwar period, Rome was becoming such a major hub for moviemaking—especially thanks to its Cinecittà Studios—that the Italian capital earned the nickname Hollywood on the Tiber. “Bellissima” celebrates this kinship, including vintage pieces made for iconic actresses who worked there, such as Ava Gardner, Lana Turner and Kim Novak, plus costumes from movies by directors like Fellini and Visconti, who helped shore up Italy’s creative reputation in film. In postwar Italy, it wasn’t just film that inspired fashion; the booming art scene provided ample source material, too. The work of Lucio Fontana is featured in the show; his slashed canvases also influenced fashion designer Mila Schön. (It was Schön’s monochrome gown that earned Marella Agnelli, wife of Fiat chairman Gianni, the title of best-dressed at Truman Capote’s legendary Black & White Ball in New York in 1966.) “Bellissima” includes an extensive textile section, too, displaying samples and vintage advertisements from firms like Faliero Sarti and Marzotto, as well as photos from fashion spreads featuring clothes made from those fabrics. There’s even a tribute to the leather goods and accessories by Salvatore Ferragamo and Gucci, among others, which helped cement the reputation of the Made in Italy marque. Yet Clearwater sees this show as more than just a retrospective of Italy’s Modernist fashion movement; rather, it helps us understand the earliest origins of contemporary pop culture. “This is the story of how all the creative industries— the designers, the artists, the photographers and the filmmakers of Italy—brought about a new, postwar renaissance that persist today.”

Bulgari Bib necklace with emeralds, amethysts, turquoise and diamonds, 1965

PHOTO BY PASQUALE DE ANTONIS, COURTESY NSU ART MUSEUM FORT LAUDERDALE

“The Italian designers brought a timeless elegance to contemporary style. Their designs were the forerunners of today’s fashion.” —Bonnie Clearwater

A model photographed by Pasquale De Antonis wearing a Sorelle Botti gown at the Galleria Borghese in Rome in 1947. BAL HARBOUR 199

PHOTO BY STEVEN BROOKE; COURTESY NSU ART MUSEUM FORT LAUDERDALE

“Bellissima” includes art that inspired fashion, such as these Lucio Fontana pieces alongside clothing by Germana Marucelli, Mila Schön and Roberto Capucci. 200 BAL HARBOUR

A model photographed by Regina Relang wearing a Sorelle Fontana dress at Romeâ&#x20AC;&#x2122;s Musei Capitolini in 1952.

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THE HEART OF PERU Against the picturesque backdrop of the Sacred Valley, authentic experiences inspire luxury travel. BY NILA DO SIMON

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ight now, Peru is having a moment. It’s experiencing a golden age of tourism that coincides perfectly with its rising economy and unofficial recognition as Latin America’s culinary capital. This country once solely known for its cultural treasures has now become a must-see destination for jet-setters. It’s nearly impossible to talk about Peru without beginning with what is commonly referred to as the city in the sky, Machu Picchu. Resting at 8,000 feet above sea level in the Andes mountains, Machu Picchu is set in a backdrop that is almost too beautiful to capture. Meaning “old peak” in the ancient Quechua language of the Incans, the site is home to carefully crafted stone structures and advanced agricultural terraces that have fascinated modern-day archeologists, leaving the world with more questions than answers. The travel to Machu Picchu can be arduous. Multiday hiking treks are available, though the more popular option is PeruRail’s picturesque 2.5-hour train ride along the winding Urubamba River. At the beginning of the tracks is Tambo del Inka Resort & Spa, a luxury property with its own private train station that leads to Machu Picchu. Opened in 2010, the resort offers a quiet, luxurious experience and an array of modern amenities. Designed by Miami-based Arquitectonica, Tambo del Inka pulls in the surrounding nature with its floor-to-ceiling windows, welcoming the murmur of the adjacent Urubamba River and the stillness of Sacred Valley’s mountains. Tambo del Inka’s main restaurant, Hawa (“heaven” in Quechua), is an acclaimed spot for Novoandina (New Andean) cuisine. Using organically grown ingredients from neighboring farmers, Hawa prepares traditional Andean dishes, like cuy and alpaca, with a refined twist. Travelers who visit Machu Picchu are encouraged to stay at least one night in nearby Cusco to acclimate to the high altitude. Once the center of the Incan empire, Cusco today is a city where two worlds have collided, mixing the rich Incan culture with Spanish colonialism. Here, the modern world mingles with the old, indigenous one. Adobe homes are still built using the hands of family members and neighbors, and ladies with long, dark braids and cloth hats continue to parade the dirt streets. The distinguished resort of Palacio del Inka is built atop Incan walls. Located in the center of Cusco, the property was once the home of a Spanish conquistador. After a $15 million renovation, the resort showcases a blend of pre-Columbian, Incan, Spanish and modern cultures, from its rich colors and textures to the display of local artwork. Its restaurant, Inti Raymi, features the craftsmanship of artisans who were commissioned to rework doorways that connect the patios with the restaurant and other rooms with typical colonial coffering. New this season to both Tambo del Inka and Palacio del Inka resorts is a three-day adventure tour package, complete with mountain biking, hiking and kayaking through the Sacred Valley. Led by activity specialists Tikariy, the guided tours weave through the legendary Maras salt mines, Valley of Pumahuanca and Huaypo or Piuray lakes, providing guests with an active taste of the Cusco area while enjoying made-to-order gourmet meals.

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Above and left: The Tambo del Inka Resort & Spa, designed by Arquitectonica, is set in the heart of the Sacred Valley; below, the historic Palacio del Inka, located in the center of Cusco, recently underwent a $15 million renovation. How to get there: JetBlue and LAN both offer daily nonstop flights from South Florida to Lima.

PHOTO BY PAUL BELLAART/TRUNK ARCHIVE

Tambo del Inka pulls in the surrounding nature with its floorto-ceiling windows, welcoming the murmur of the adjacent Urubamba River and the stillness of Sacred Valleyâ&#x20AC;&#x2122;s mountains.

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FASHION FÊTES

From Los Angeles to Miami, we capture the style set and the Bal Harbour brands they adore.

Lily-Rose and Johnny Depp, Amber Heard, Stella McCartney and Orlando Bloom at Stella McCartney’s 2016 presentation

Lucia Boscaini and Daniel Paltridge at “Bellissima”

Beth Rudin DeWoody and Firooz Zahedi at “Bellissima”

Tracy Mourning, Stefano Tonchi and Tara Forman at the NSU Art Museum Fort Lauderdale for the opening of “Bellissima”

Giampaolo Della Croce, Margarita Waxman and Daniel Diaz at “Bellissima”

Nicole Richie at Stella McCartney

Dean and Dan Caten at the River Yacht Club

Chelsea Handler and Sarah Silverman at Stella McCartney

Lauren Gnazzo and Seth Browarnik at the DSQUARED2 dinner at the River Yacht Club 206 BAL HARBOUR

Selma Blair and Kiernan Shipka at Stella McCartney

Adrienne Bon Haes and Marvin Ross Friedman at “Bellissima”

Maria Luisa Frisa and Bonnie Clearwater at “Bellissima”

Kate Hudson at Stella McCartney

PHOTOS COURTESY DAVID X PRUTTING / BFA AND STELLA MCCARTNEY; ALEJANDRO CHAVARRIA / WORLD REDEYE; JOHN PARRA / GETTY IMAGES

Quincy and Rashida Jones at Stella McCartney

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AN ICON STANDS TALL Catherine Deneuve—legend of style and French cinema— reveals a few secrets one night in Geneva.

Fifteen years ago, when the late Yves Saint Laurent was still overseeing his atelier, fashion shows had not yet been invaded by reality stars, Instagram or seatmates who block your view by taking photos with their iPads. You could trust Pierre Bergé, Saint Laurent’s longtime partner, would emerge from backstage and announce in French that the show would start on time, merci. And if a scrum of photographers erupted with blinding flashbulbs, you knew the reason from the one word floating through the air: “Deneuve! Deneuve!” Some things change, while others remain the same. Catherine Deneuve—consummate actress, legendary muse to Saint Laurent, and bona fide style icon—continues to command any room she enters. For the latest example, look to late January in Geneva, when Deneuve turned up at a party commemorating the 85th anniversary of JaegerLeCoultre’s iconic Reverso watch. Clive Owen stood nearby, clean-shaven and sleek in a navy suit, while Christian Louboutin, who’s working with the watch brand on an anniversary collaboration, drew breathless sighs from fans of his lust-worthy red soles. But it was Deneuve who stopped people in their tracks. Here was Belle de Jour herself, the woman who enticed Susan Sarandon andCliv David Bowie alike in The Hunger, the devoted friend and muse who, upon the finale of his final haute-couture show in January 2002, sang to a clearly overwhelmed Saint Laurent. Her choice: an affectionate rendition of “Ma Plus Belle Histoire d’Amour C’est Vous.” Translation: “My greatest love story is you.” Search the now-fabled moment on YouTube; we dare you to not cry. Yet the legend of Deneuve is made all the more powerful by encountering the highly pragmatic attitude of the woman herself. On that January night in Geneva, she sat in a corner of the VIP room, accepting with grace the accolades coming her way, the effusive praise for her cinematic career and impact on fashion alike. After a brief tête-à-tête with Louboutin, all laughter and whispered secrets while smoking, Deneuve consented to an interview. Why did she want to attend this party? Deneuve was simply a fan of the brand, she revealed, having met Jaeger-LeCoultre execs while presiding over the Venice Film Festival jury in 2006. “We do things together, but in a very easy, simple way. Nothing too official,” she said. Perhaps that’s because Deneuve, apart from her fashion-icon status, also happens to be a lover of watches. What attracts her to certain brands? “It’s not the brands,” she said firmly. “I just collect the watches I like.” Deneuve counts Cartier, Patek Philippe, Dior and Van Cleef & Arpels among her collection, both new and vintage

Deneuve may be the only actress to have a watch design based on one of her films. In 2014 Van Cleef & Arpels based its high-jewelry collection on the French fairytale Peau d’Âne.

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PHOTO BY MARK ABRAHAMS. COURTESY OF TRUNK ARCHIVE

BY LAURIE BROOKINS

pieces. She may be the only actress, however, who’s had a watch design based on one of her films: In 2015 Van Cleef & Arpels based its high-jewelry collection on the 1695 French fairytale Peau d’Âne; Deneuve starred in the 1970 film version. A watch in the collection depicts an enchanted forest envisioned in the story, while Van Cleef & Arpels also sponsored the film’s digital restoration. The requisite question likewise revealed the laissez-faire spirit that has come to embody Catherine Deneuve. “Who are you wearing?” she was asked. Resplendent in a leopard-print coat and dress, it was clear her style choices remain thoughtfully considered. “Lanvin,” Deneuve said. A pause was soon revealed as deliberate. “When Lanvin mattered.” Next year we’ll celebrate the 50th anniversary of Belle de Jour; this year Deneuve was received her 14th nomination for a Cesar Award, France’s version of the Oscar, for Best Actress in La Tête Haute, or “Standing Tall.” The title seems fitting.

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