Bal Harbour Magazine - Fall 2014 by Bal Harbour Shops

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FALL 2014

MAGAZINE

Anne V

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PHOTO BY MIKAEL SCHULZ

FALL 2014

Akris Angora-wool reversible coat, 305.866.2299.

CONTRIBUTORS We asked our contributors: “What word do you overuse or that you find other people overuse?”

FASHIONABLE UNIVERSE What to see, visit and wear this Fall.

GOLD VIBES This enduring metal is more than a flash in the pan.

ALL HAIL HORST One of fashion’s greatest lensman is celebrated with the largest retrospectives of his work to date.

ARTS & LETTERS Nicolas Ouchenir, master calligrapher who writes the fashion world’s most exclusive invitations.

GLOBAL REACH Meet three of the most influential international fashion bloggers.

COOL BRITANNIA British model Edie Campbell has the fashion world hooked on her quirky style.

MAN KIND With accessories like these, you may find yourself dipping into his closet this season.

CREATURE COMFORTS You’ll want to grab hold of these critters before anyone else does.

SHOW SOME SKIN Despite the drop in temperature, there’s plenty of skin on show this season.

COLOR WHEEL Take these brighter hues for a spin this Fall.

ICON In “Alta Moda,” Mario Testino takes a departure from fashion photography, and taps into his Peruvian roots.

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A multimedia illustration by Donald Robertson

FAMILY HISTORY Iconic Italian label Salvatore Ferragamo honors its own legacy of female creativity.

STYLE DIARY We talked to four tastemakers to see what they’ll be wearing this Fall.

MEET MS. CHLOÉ Clare Waight Keller carries the French house into a new direction that’s still undeniably feminine.

ABOUT FACE Three top models spill their secrets for staying fit and beautiful year-round.

RESERVED Though she’s been a front-row fixture for years, Lynn Yaeger still ponders the real cost (and value)

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of a well-placed seat during fashion week. WILD CHILD There’s nothing understated about this Fall’s wardrobe.

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SIREN CALL When attention is what you’re seeking, the only option is red.

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DRAW DRAW DRAW DRAW With a day job as a creative director at Estée Lauder and an illustrator at all other hours,

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Donald Robertson is becoming the world’s best-known creative double agent. THE WOOL PACK Wrap yourself up in this season’s coziest sweaters and statement coats.

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IN HER HANDS Alessandra Facchinetti is updating Tod’s with a fresh look all her own.

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Tiffany & Co.’s Sugar Stacks rings

COLOR (DE)CODED Diamonds may be forever, but colored gemstones are very now.

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BEHIND THE CURTAIN Tomas Maier has been quietly redefining luxury at Bottega Veneta

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FALL 2014

MAGAZINE

for the last 13 years. DRAWN TO FASHION The elegant niche of fashion illustration is gradually expanding,

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elevating a season’s trend to fine art. TOP SHELF Stock up on these stylish tomes.

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POUR HOMME To celebrate the opening of The Webster’s new mens store, co-founder

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and CEO Laure Heriard Dubreuil shares her top looks for Fall. FASHION FÊTES Here’s to partying around the world with Bal Harbour’s brands.

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SERIOUS FASHION Teri Agins sits with writer Mark Ellwood to discuss her latest book,

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her earliest runway memories and the future of fashion.

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Anne V

Anne V photographed by James Macari and styled by Sarah Gore Reeves wearing a Balenciaga silk sweater dress and satin trousers.

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Welcome Note The collaborators that helped shape this issue each brought their individual areas of expertise, backgrounds and points of view to produce—what I believe is—our best issue yet. From makeup artists to manicurists, every person contributes to the secret sauce that makes an issue sing. As many people have said, a good issue of a magazine is much like a good cocktail party—old friends, new friends and lots of eye candy, or, in this case, visual inspiration. Speaking of, Russian supermodel Anne V served up plenty of inspiration for seasoned photographer James Macari, who—on his first assignment for Bal Harbour—captured the leggy blonde at Milk Studios in New York City. Anne V not only wowed us with her beauty, but her personality and enthusiasm had us all charmed. Contributing fashion editor Sarah Gore Reeves, whose impeccable taste can be felt in all of this issue’s fashion stories, brought another layer of style savvy into the shoot by juxtaposing the best of this season’s collections with patterned backgrounds. Also in this issue, contributing writer Lynn Yaeger takes us on her personal journey through the fashion industry, from her first seat at a fashion show to becoming pals with today’s leading designers. Minimalist style icon Tomas Maier opens up to Bee Shapiro about labels, logos and the art of craftsmanship, while Donald Robertson, the most wanted illustrator of the moment, talks to writer Ted Loos about how his Instagram feed changed his life. Robertson’s whimsical illustrations pop off of the pages of our new, more portable format. The upbeat mood in fashion right now is felt everywhere you turn at Bal Harbour Shops. If you haven’t already checked out the newest stores—Maje, Rag & Bone, John Varvatos and Charlotte Olympia—or the expanded and updated ones—including Intermix, Chloé, Salvatore Ferragamo and Oscar de la Renta—don’t wait another moment. And make sure you mark your agenda for Vince, Dsquared2 and Buccellati, all of which are opening their doors by the end of this year.

Editor-in-Chief Sarah Harrelson

I hope to see you at the shops!

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 Senior Editor Sherri Balefsky Associate Art Director Adriana Sandoval Contributing Fashion Editor Sarah Gore Reeves Contributing Writers Kate Betts, Jackie Cooperman, Tanya Dukes, Mark Ellwood, Rachel Felder, William Kissel, Stella Lee, Ted Loos, Jessica Michault, Eugenia Santiesteban Soto, Bee Shapiro, Alyssa Shelasky, Samantha Tse, Lynn Yaeger, Janelle Zara Contributing Photographers Boo George, Richard Phibbs, James Macari, Mikael Schulz Editorial Coordinators Dawn Simpson Jones, Dana Parker Digital Imaging Specialists Pete Jacaty, Matt Stevens Interns Danny Eguizabal, Kassandra Meyer Accountant Judith Cabrera Chief Executive Officer Mike Batt

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Contributors “What word do you overuse or that you find other people overuse?”

Lynn Yaeger is a fashion writer who lives in New York City and has an imaginary apartment in Paris, where she spends all, or at least most, of her time visiting flea markets. She writes frequently for Vogue, The New York Times’ T Magazine, Travel + Leisure and the Sundance Channel’s Full Frontal Fashion website.

“I have a habit of adding ‘ish’ onto words—as in, let’s meets five-ish or the dress is ugly-ish—which might annoy other people. For my part, when people say ‘prioritize,’ which is not even a real word, it drives me up the wall!”

Jackie Cooperman covers travel, style, food and culture for many publications, including The Wall Street Journal, the New York Post, and the Financial Times. Based in New York, she has also lived in Paris, London and Milan, where she worked for the International Herald Tribune and Women's Wear Daily.

“The word I use a lot—but not too much—according to my 7-year-old daughter: ‘love.’ The word other people overuse: ‘relatable.’”

Eugenia Santiesteban Soto is a style editor and consultant based in New York. Prior to her freelance career, she was style director for Veranda, overseeing the product and style pages. Born and raised in Miami, she is a graduate of Williams College. She started her career at Elle Decor before becoming senior market editor at Domino magazine.

“‘I live in Brooklyn, so it’s probably ‘artisanal,’ ‘handcrafted,’ or ‘kale.’ You can't have a conversation without one of those words creeping in.” 30 BAL HARBOUR

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.

“I keep hearing the phrase ‘stackable content.’ It feels like the next ‘deep dive’— overused by tech and social media hounds as the new ‘it’ term!”

Contributors

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

“‘Yes’ is the word people overuse. But I always say no before yes... Good with men, good in your personal life and good in work... They just want you more!”

Tanya Dukes is a freelance creative consultant and writer on fashion, jewelry, travel and design. She was formerly the accessories editor at Brides where she “covered engagement rings galore and every other wedding embellishment imaginable.” As style editor at Elite Traveler, Dukes covered the international circuit of jewelry and watch fairs. Born in Dallas, Texas, James Macari studied photography at the University of Oklahoma then moved to New York to work under photography masters Richard Avedon and Patrick Demarchelier. During these apprenticeships, Macari forged his perfection of light and technique. His easy-going personality means he is able to form a connection between camera and model, giving his work a sense of intimacy and a closeness to the subject. His work has been featured in Vogue Germany, Vogue Russia, Vogue España, GQ, The New York Times Magazine, Details, I.D. and V Magazine.

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Contributors Jessica Michault is the editor-in-chief of fashion industry website NowFashion.com. For more than 15 years, she has covered everything in the world of fashion, from the red carpets of Hollywood to the hautecouture collections. Michault’s work has appeared in The New York Times, the International Herald Tribune and Vogue Italia, among others. In this issue she explores the rich history of fashion illustration, including the contemporary illustrator Gladys Perint Palmer, who drew her likeness here.

Rachel Felder is a New York-based style writer whose work has appeared in The New York Times, WWD, Financial Times, Travel + Leisure and Town & Country, among others. The author of two books, she is currently working on a novel that revolves around the gritty rock ‘n’ roll clubs of New York City.

“‘Lipstick,’ as in ‘I need to put on more lipstick,’ ‘Let me just grab my lipstick’ and ‘Yes, those are three tubes of the same shade of red lipstick in my bag.’”

“I would have to say the word I use a lot is: ‘multitasking.’”

Janelle Zara is a freelance architecture, design, and art writer based in both London and Paris, although she mainly reads publications that contain “New York” in the title. Following her interview with French calligrapher Nicolas Ouchenir for this issue, her appreciation for handcraftsmanship, as well as the quality of her own handwriting, have noticeably improved. Her work also appears in Architectural Digest, Artforum, and Architizer.

“I find people using the word ‘literally’ more often than they should— usually in the opposite sense of the word. The day Merriam-Webster added ‘figuratively’ as its secondary definition was a dark moment in the English language. Literally.”

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Samantha Tse is a London-based writer specializing in fashion, design, architecture and travel. Her writing appears in Wallpaper*, Tatler, Globe and Mail and ARTINFO, among others.

“The word I overuse is ‘ohmygod!’ or ‘amazing.’”

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FASHIONABLE UNIVERSE FALL 2014 COMPILED BY SHERRI BALEFSKY AND TALI JAFFE

Arthur Elgort’s photography (including this shot of Linda Evangelista from 1989) is captured in a new book from Steidl, “The Big Picture.”

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KING ARTHUR

Although Arthur Elgort has published several books, including the 1994 bestseller “Models Manual,” which featured iconic photographs of models such as Christy Turlington, Naomi Campbell and Cindy Crawford, “The Big Picture,” out from Steidl this winter, is the first to encompass the entirety of his career. Known for his casual “snapshot” style of photography, the book spans four decades of Elgort’s works from magazines such as Vogue, Life, and Rolling Stone and campaigns for Chanel, Valentino and Yves Saint Laurent, among many others. A campaign image of Ambra Medda for Miss Viv’; right, Miss Viv’ L’ArcoBaleno.

Aperlaï’s Geisha Lines heel, Fall 2013

Manolos and Louboutins and Jimmy Choos, oh my! If there were a mecca for the shoe-obsessed, this would be it. “Killer Heels: The Art of the High-Heeled Shoe,” is on view at the Brooklyn Museum through February 15 and features over 160 heels from iconic designers both past and present. 42 BAL HARBOUR

BRAVO, AMBRA!

“Today art and design is all the craze,” says Bruno Frisoni, creative director of Roger Vivier. “And Ambra Medda embodies perfectly this intersection of fashion, art and design—the creative trinity that always inspires me.” This season, Roger Vivier tapped the Italian beauty to be the face of its Miss Viv’ bag, and is celebrating the collaboration with a limited-edition Miss Viv’ inspired by Medda’s design website, L’ArcoBaleno. “I have such a deep respect for the creations of this historic maison,” says Medda. “It always balances the highest quality and desirable luxury with intelligence, playfulness and joy.” The degradé rainbow sequins bag, above, is available in select Roger Vivier stores in October.

Patti Hansen, Lisa Taylor and Beverly Johnson, 1976

CLASSIC YELLOW DIAMOND JEWELRY by HARRY WINSTON

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Prada is giving its footwear-crazed fans the ultimate gift this November: made-to-order shoes. Choose from a wide selection of colored leather, exotic skins and soles—branded with your initials in gold—for a look that’s completely your own.

An extraordinary exhibition of Dries Van Noten’s collections are on view at Les Arts Décoratifs museum in Paris. Presented alongside iconic pieces from the museum’s fashion and textile collection, the show also includes artworks from public and private collections, selected by Van Noten. Through January 11, 2015.

SELFIE STYLE A look from the Dsquared2 Fall 2014 collection; below, Dan and Dean Caten

DSQUARED2

2014 marks the 20th anniversary of Dsquared2, the edgy-yet-sophisticated luxury brand founded by twin brothers Dan and Dean Caten. And, lucky for us, they are celebrating by opening up a new store in Bal Harbour in December. 44 BAL HARBOUR

Gisele Bündchen from “Visionaire 64 ART” by John Baldessari

FOR ITS 64TH EDITION, VISIONAIRE HAS COLLABORATED WITH ARTIST JOHN BALDESSARI, KNOWN AS "THE GUY WHO PUT DOTS OVER PEOPLE'S FACES," TO CREATE A SERIES OF BLACK-ANDWHITE CELEBRITY “SELFIES” THAT HAVE BEEN SILKSCREENED WITH HIS SIGNATURE SHAPES AND COLORS. CELEBS FEATURED INCLUDE JAMES FRANCO, AI WEIWEI, DRAKE, YOKO ONO, LUPITA NYONG'O, SCARLETT JOHANSSON, LIONEL MESSI AND GISELE BÜNDCHEN.

COURTESY VISIONAIRE; DSQUARED; LUC BOEGLY

SHOE ME SOME LOVE

IT’S SO DRIES

THE It LIST

GOLD VIBES

This enduring metal is more than a flash in the pan. . go out of style? We don’t oes this metallic ever

think so, and if Spring’s first appearances on the runway are any indicator, neither does fashion at large. A pop of gold will give even the most dressed-down daytime look presence. But why stop there? Make a statement with Oscar de la Renta’s Russian Gold Curve necklace, the singular piece that will be the conversation-starter you should never leave home without. If subtle is more of the statement you’re going for, Buccellati’s Macri bracelet says it all. And for those who prefer more than a hint of the gild, wait just a few more months and you can dress head to toe in The Row’s Spring 2015 collection. We’re earmarking this one now. —Tali Jaffe

Clockwise from left: A look from The Row’s Spring 2015 collection; Oscar de la Renta Russian Gold Curve necklace; Buccellati Macri bracelet in yellow and white gold with diamonds.

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ALL HAIL

HORST

One of fashion’s greatest lensman is celebrated in London with the largest retrospectives of his work to date. BY SAMANTHA TSE

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Salvador Dalí’s costumes for Léonide Massine’s ballet Bacchanale, 1939, photograph by Horst P Horst.

ailed as “photography’s alchemist,” the late Horst P Horst is known for taking some of the most iconic fashion images of the 20th century and for his portraits of glamorous Hollywood figures such as Rita Hayworth, Vivien Leigh and Marlene Dietrich. But there’s more to the German photographer than pretty frocks and famous faces. “Horst: Photographer of Style” opened in September at London’s Victoria and Albert Museum and is the largest retrospective to date of the photographer’s work. The exhibition spans his entire 60-year career, from his early images documenting the glittering world of haute couture in pre-World War II Paris and his collaboration with surrealist artist Salvador Dalí to his images of some of the world’s most impressive homes that were featured in Home and Garden and Vogue in the 1960s and ’70s and his exquisitely produced platinum prints of the ’80s and early ’90s. “I was very keen to tell the whole story of his work,” says curator Susanna Brown. “I spent several weeks looking through his complete personal archives and prints at the Vogue and Condé Nast archives in New York and Paris and talking to a lot of the people who he worked with to try to build up a picture of not just the photographer but of the man himself.”

Brown selected 250 photographs, including previously unpublished prints and rare color fashion images. “Horst was one of the first fashion photographers to really embrace color when new camera technologies were launched in the latter part of the 1930s,” says Brown. “So we’re also exploring his color work, which is, in comparison to the classic black and white, quite little known.” The exhibition also showcases more than 90 Vogue covers and film footage of the lensman at work inside the Condé Nast studios in 1946 that gives valuable insight into the process of creating a Horst image. There are also personal relics such as sketchbooks, contact sheets, diaries and even some of his cameras. “For me, it was quite important to create a space that felt atmospheric,” explains Brown. “The first room of the exhibition is all black and white. You walk in and you feel transported to the glamorous world of Paris in the early 1930s.” The first gallery features vintage gelatin silver prints, highlighting Horst’s mastery of light and deep shadows. Images of his first muses, including Lisa Fonssagrives and Lyla Zelensky, are displayed alongside gowns in shades of black, white, gold and silver from couturiers such as Chanel, Lanvin, Schiaparelli and Vionnet. But the retrospective is not solely focused on fashion. Horst was an adventurous traveler and spent the ‘40s and ’50s visiting the Middle East, which revealed his interest in landscapes, architecture and ancient cultures. He also produced incredible documentary images of the Qashqai tribesmen with whom he traveled across Iran during their annual migration. The show also celebrates lesser-known works such as male nudes from the 1950s and a project that examines patterns created from natural forms. “Horst: Photographer of Style” is on view through January 4, 2015, at the V & A Museum, London

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“Horst was one of the first to really embrace color in the 1930s.” —Susanna Brown, curator

Clockwise from top: Muriel Maxwell, American Vogue cover, July 1939; Round the Clock, New York, 1987; Dinner Suit and Headdress by Schiaparelli, 1947.

ARTS & LETTERS Meet NICOLAS OUCHENIR, the master calligrapher who writes the fashion world’s most exclusive invitations.

The stresses facing the go-to calligrapher for Paris’ fashion elite, at times, run high. “During couture week this year, I handaddressed 102 envelopes for a very big designer—one that everybody knows—from 10 p.m. until morning for a show that was the next day at noon,” says Nicolas Ouchenir, the man in question. “I used a very special handwriting. It was super chic. Then the next morning, they decided to cancel the show.” It’s all par for the course for Ouchenir, whose Paris-based studio situated just across from Colette contains rows upon rows of fashion week invitations for heavy hitters such as Rick Owens, Maison Martin Margiela, Hermès and Gucci, just to name a few, each meticulously conceptualized with the most basic of materials: pen and paper. This Paris Fashion Week, he intends to pull a marathon of similar all-nighters that begins the two weeks before the start of the presentations and lasts until all of the fanfare ends. The state of Ouchenir’s desk, covered in various inks, crumpled papers and an array of writing utensils, indicates the workspace of a very busy man. Despite our age of evites, text messages and emails, his work is still high in demand, seemingly for two reasons. First of all, “When you receive a handwritten invitation, it makes you feel really important and essential to the event,” he theorizes. “When you get an email, you get the sense that the party is going to be the same without you.” In his early days as a gallerist at Jean-Gabriel Mitterrand, he was sending his collectors handwritten notes before power publicist Pia de Brantes enlisted his craft for her firm. She opened his world to clients like Versailles, Rothschild and Prada, which eventually led him to open his own studio 11 years ago, although the 52 BAL HARBOUR

A few things you’l Pen: The kalam, a l find on the desk of Nicolas Ouch sharpened piece of en Ink: Montblanc sugar cane dipped ir: in ink. Stationery: Louis Paper: The cheapeVuitton, Le Cabinet d’Ecriture Font: Arial. It’s cle st one. got no emotion. ar and simple, like an old typewritten letter. It’s

Nicolas Ouchenir has designed invitations and signatures for some of the world’s most high-profile fashion houses.

ABDELWAHEB DIDI; ABOVE, PORTRAIT BY NOEL MANALILI

BY JANELLE ZARA

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two continue to share office space. “She’s my second mother,” Ouchenir says. Secondly, there isn’t quite anyone else who does what Ouchenir does. There’s a cosmic, philosophical air to how he approaches his work, which focuses on creating entirely unique signatures for his clients while other calligraphers use preset scripts. “I’m sorry, but that’s boring,” Ouchenir says. Instead, “I create your own A, your own B, your own C. Calligraphy is not fashion. Calligraphy is you.” His process begins with parsing who you are, exactly, which may involve having a coffee together or walking the streets of Paris, New York or L.A. “It’s a question of senses without asking any questions. I feel the atmosphere,” he explains. The next step involves fewer pleasantries and more arduous writing and rewriting, perhaps creating 350 different samples of the potential next Giambattista

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Valli font, which changes every year. The end product is a manifestation of the brand in script—Van Cleef & Arpels’ has a musical quality to it on par with the whimsy of its floral jewels, while Cartier’s is decidedly bolder and more masculine. For Rick Owens, Ouchenir sought to create a signature that was slim but also tough, from time to time engraved in swathes of black leather. All the intuiting that goes into Ouchenir’s work also lends itself to more intimate applications. “You have letters you never gave to your lover and you want it engraved on their tomb?” he says. “Ask me, and I’ll make it for you.” He also creates letters to engrave into the skin, frequently designing tattoos for his high-profile clients. Although he refuses to name names, he does allude to having designed an album cover for a certain ex-Mouseketeer, and leaves it at that.

BELOW, PHOTO BY BRUNO WERZINSKI; ABOVE, PHOTO BY NOEL MANALILI

Paris Fashion Week is Ouchenir’s busiest time—where he hand-addresses hundreds of invitations for the top fashion labels.

Co-founders Stephanie Mark and Jake Rosenberg of The Coveteur

GLOBAL REACH

Meet three of the most influential international fashion bloggers. BY RACHEL FELDER

In fashion, like so much else in the world, the Internet has given worldwide accessibility to what was once rarefied and elite. Nowhere else is this more evident than in the world of style blogs, which can be just as impactful—if not more so—as coverage in a traditional fashion magazine. Surprisingly, some of the most influential (and entertaining!) fashion blogs are based far from the style capitals of New York, Milan and Paris. Each site has its own personality, reflective of its founder’s own sensibility. Here are three of the best, with insight from the bloggers behind them.

THE COVETEUR Canada In the four years since it was launched, The Coveteur has become a must-read for the fashion industry thanks to its luxe feel and its mix of trend coverage, newsy items and—perhaps most appealing—looks into the closets of fashion insiders. Its design is slick and cosmopolitan, like something you’d expect from a glossy national

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headquartered in New York City… though the site is based in Toronto. “To be honest, it is kind of double-sided,” says Stephanie Mark, The Coveteur’s co-founder, on the logistics of working outside of a fashion capital. “It allows our perspective to always be clear and not get swept up with ‘who is friends with who’ and ‘you shouldn’t cover this person.’ It lets us be a bit more unbiased.” Still, Mark and co-founder Jake Rosenberg travel regularly, including trips to one of their favorite places: Miami. “For us, Miami feels a bit fresh and a little bit different than anything else,” she says. “There’s so much more culturally happening there that it seems like an interesting place for us.” As the site’s impact continues to grow, recently adding beauty and mens fashion to its mix, Mark has a healthy attitude toward competition from other bloggers. “I like to look at everyone as more of a colleague than as a competitor,” she says. “It’s beneficial to learn from everyone instead of trying to compete, because things are always changing.”

Andy Torres, founder of Style Scrapbook

Camila Coutinho, founder of fashion blog Garotas Estúpidas

“I will only work on collaborations that truly fit with my style and that I feel honest about.” —Andy Torres

GAROTAS ESTÚPIDAS

STYLE SCRAPBOOK

Brazil Camila Coutinho launched Garotas Estúpidas eight years ago as a hobby, or, as she humbly puts it, “a way to talk to my friends about celebs and stuff.” While celebrity style is, indeed, one of the site’s main focuses, it’s also become a popular source for coverage of the latest trends in beauty and fashion, style-skewed events and red carpets, as well as for Coutinho’s own high-low style. “I can go easily from Prada to Zara,” she quips. It’s also extremely influential in Brazil’s ever-growing fashion scene. Since the site is very visually driven—with images of clothing and accessories, chic celebrities at events and Coutinho herself—Instagram has logically become a medium for additional content. “It’s another means of communication,” Coutinho says. “You have to be more creative and elaborate different content for every social-media platform beside the blog. The audience has changed a bit because of Instagram’s accessibility. It’s not that we have lost readers, it’s just that the same reader who used to access the blog five times a week, now does it three times and gets her daily dose via Instagram. It means even more communication and contact!”

The Netherlands Andy Torres, born in Mexico and based in Amsterdam, has turned her seven-year-old blog, Style Scrapbook, into a profitable brand, having partnered with companies such as Mango, Kipling and Canon on collaborative items and ad campaigns. “I’m fortunate that I can make Style Scrapbook work financially, although we still only agree to maybe 30 percent of collaborations we discuss,” she explains. “My readers are all smart enough to know if I were to work on a project that did not fit my style, and it would have an impact on how they view me as a person. I will only work on collaborations that truly fit with my style and that I feel honest about.” Torres’ personal style and openness has won many loyal fans (the site has more than a million Facebook followers). Her posts mostly consist of images of herself traveling the world fabulously dressed— a bit like a cross between a street-style shot in a magazine and a selfie. “We have always kept the focus on building a relationship with our readers,” she says. “I honestly believe that if you put forward content that people will want to follow and engage with, they will.”

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OYSTER PERPETUAL SK Y-DWELLER IN 18 KT WHITE GOLD

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oyster perpetual and sky-dweller are trademarks.

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British model du jour,

Edie Campbell, 23, is fast becoming one of the most recognizable faces in fashion. While she’s been around for several seasons, the last two years have seen the blue-eyed beauty rise from posh schoolgirl to fashion’s most popular muse, dethroning queen bee Cara Delevingne as Model of the Year at the British Fashion Awards last December. Fashion tastemakers have been seduced by Campbell’s brand of edginess, which channels a tomboy chic with a quirky twist, making her one of the coolest girls both on and off the catwalk. The 5-foot-10 stunner began modeling at 15 years old, when Lucinda Chambers, fashion director of British Vogue, cast her in a “Young London” story shot by Mario Testino. Campbell has since worked with some of the most celebrated photographers in the industry and has strutted down the runway for top brands such as Burberry, Chanel, Saint Laurent and Christian Dior. But perhaps her most famous runway strut was for Louis Vuitton, when she walked in Marc Jacobs’ final show for the house wearing a jeweled thong, a large headdress and strategically placed Vuittonmonogram body paint. This season, Campbell is the star of many high-profile campaigns from Alexander McQueen to Bottega Veneta. Her new campaign for Lanvin features her entire family, including her mother, Sophie Hicks, a fashion editor-turnedarchitect; her grandmother, Joan Hicks, a model from the 1950s; Campbell appears in this her boyfriend, Otis Ferry, son of musician Bryan Ferry; her season’s Bottega younger sister, Olympia, an aspiring model; and her beloved Veneta (left) and Alexander horse, Dolly. McQueen Until recently, Campbell was seen sporting a jet-black punkcampaigns and has on numerous inspired mullet, the handiwork of hair master Guido Paulo. He covers including refashioned Campbell’s long blond locks into something more Tatler, March 2012 and Vogue irreverent for a Vogue shoot by Steven Meisel, transforming her Italia, April 2013. from ingénue to dark romantic beauty. She has since gone back to blonde, but her striking good looks are not her only assets. In 2013, she graduated from the Courtauld Institute of Art, one of the U.K.’s premier universities for art history. She is also a competitive equestrian and an ambassador for the charity The Reading Agency, which runs literacy programs in the UK.

IMAGE COURTESY OF BOTTEGA VENETA

Since modeling for Vogue at age 15, EDIE CAMPBELL has been on a steady rise to the top. Writer Samantha Tse finds out who this BRITISH BEAUTY is and what makes her so alluring.

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Man Kind With accessories like these, you may find yourself dipping into his closet this season. BY TALI JAFFE

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A look from the Salvatore Ferragamo Fall 2014 collection

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ife is great right now for Mario Testino, who is, quite possibly, the most influential fashion photographer in the world. The Lima-born lensman has shot the majority of Hollywood’s top models and A-List celebrities, not to mention he has been the choice photographer for the royal family for over three decades. (He famously shot Princess Diana for Vanity Fair in what became one of her final photo shoots before her tragic death.) He’s also been at the helm of many high-profile campaigns for leading fashion houses including Chanel, Versace, Dolce & Gabbana and Gucci. Marking a bold departure from his work in fashion, Testino’s latest installment, “Alta Moda,” features a series of portraits of native Peruvians from the mountainous region of Cusco wearing traditional festive attire. We caught up with the busy photographer to discuss the exhibition.

How did you come up with the idea for “Alta Moda”? I discovered an archive of costumes when I was in Cusco in 2007 working for British Vogue. I learned about them—how some of the dresses were worn for festivities and some were worn in everyday life by the people from the region. What I found interesting, aside from their amazing beauty, was how every detail in these dresses was symbolic of something or told a story about the person that would wear it. I decided I would document them… without any real end goal. But after a few years of going back to Cusco and photographing more of the people from the region, I decided to make an exhibition of the images. Why did you choose “Alta Moda” as the title? It’s Spanish for “high fashion.” The Cusco region has one of the highest elevations in Peru; but the title also takes inspiration from another high fashion—that of haute couture. When I first exhibited these photographs at MATE, my museum in Lima, I borrowed five haute-couture dresses from Christian Dior that John Galliano had designed following a trip he made to Peru that season (Autumn/Winter 2005). The Dior dresses took inspiration from the types of dresses I had photographed, so this felt like a great link between the past and the present. What do you hope visitors take away from “Alta Moda”? One of my biggest ambitions with these pictures, and with MATE in Lima, is that we can take them around the world and bring some Peruvian culture and tradition to people that have maybe never seen anything like this before. I am very keen to highlight Peruvian culture on a world stage. What upcoming projects are you working on? So many things! But one of the next big things I am working on is a book of my pictures of men. What is your favorite part about your job? I am very fortunate in my line of work that I get to meet and work with some incredible people. “Alta Moda” is on view at Dallas Contemporary through December 21; dallascontemporary.org

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ICON IN “ALTA MODA,” MARIO TESTINO TAKES A DEPARTURE FROM FASHION PHOTOGRAPHY, AND TAPS INTO HIS PERUVIAN ROOTS. BY SHERRI BALEFSKY PORTRAIT BY BEN TIETGE

FAMILY HISTORY Iconic Italian label Salvatore Ferragamo honors its own legacy of female creativity with a new signature handbag and a short series of films. BY KATE BETTS

Ferragamo Mini Fiamma bag in fox fur and python

Not everyone knows about the legacy of strong, stylish women behind the Salvatore Ferragamo brand, but they will soon, thanks to a charming series of short films launched in May in conjunction with the introduction of the Fiamma bag. When Ferragamo suddenly passed away in 1960 at the age of 62, it was his wife, Wanda, the mother of their six children, who fearlessly guided the company to further global acclaim. And when they came of age, daughters Giovanna, Fulvia and Fiamma helped lead the company. Fiamma, in particular, was a fashion force within the company and was instrumental in the brand’s move into handbags in the 1970s. To honor Fiamma (who lost her battle with cancer in 1998 at just 57 years old), Ferragamo has named a handbag after her. Designed by creative director Massimiliano Giornetti, the satchel-style top-handled bag recalls a half-moon design Fiamma originally created in the 1990s. To launch the handbag, Giornetti and the Ferragamos came up with the idea of honoring the intergenerational legacy of women in the family with a series of short films featuring a global cast of stylish mothers and their equally stylish daughters. The films are a reminder that creativity—like style, manners and values—is handed down from one generation to the next. Offering an intimate glimpse into women’s relationships, the films feature family pairings such as 74 BAL HARBOUR

American actor Mariel Hemingway and her daughter Langley Hemingway Fox; Princess Patricia and Princess Mathilde Mélusine Ruspoli of Rome; and Belgian designer Jacqueline Beaurang and her two daughters, Lola and Stella Schnabel. What is so interesting about each film is that no matter which culture or country it references—China, America, Japan, Italy, Brazil—it speaks to this universal idea of creativity and style as traits that connect mothers and daughters. Japanese musician and artist Hanayo Nakajima, known for her off-beat and subversive work, speaks directly to the idea of intergenerational traditions when she tells the story of her grandmother’s kimono and how she has passed it down through generations. For her daughter Tenko, also an artist, the maternal influence is broader: “She inspires me in every way that can possibly be because she’s my mom.” For Mariel Hemingway, creativity is one of her family’s strongest features. “There’s an overwhelming sense of a free spirit in the entire family,” she says. “As a mother, it’s cool to see your children express themselves and become individuals in their own right.”g

“Being paired with a familydriven company like Ferragamo was an inspiring opportunity.” —Langley Hemingway Fox

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In return, Langley Hemingway Fox talks about her mother as her inspiration when it came to teaching her how to wear things that made her feel comfortable. “She always allowed me to pick out my own clothes and helped me form my identity by never judging it,” she says. “It was great to work with my mother because we have such different styles but come from the same mold, and I felt it was inspiring to see the combination together. Also, being paired with such a family-driven company like Ferragamo was such an amazing and inspiring opportunity.”

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Mariel Hemingway (right) and daughter Langley Hemingway Fox appear in Ferragamo’s film series featuring an international cast of stylish mothers and daughters.

PHOTO BY UNGANO & AGRIODIMAS

“As a mother, it’s cool to see your children express themselves and become individuals in their own right.” —Mariel Hemingway

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ISLAND OUTING “We've been going to Jamaica a lot lately and just booked our trip for over the holidays. I can't wait to go back.”

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JESSIE RANDALL hen Jessie Randall had trouble finding the ideal shoe, she designed one. That was in 2005, and the start of her line, Loeffler Randall. Almost 10 years later, she’s expanded into handbags and picked up a CFDA award for accessory design. “I don’t follow trends,” she says. “I design for the real girl and then obsess over every detail.” To that end, her designs focus on comfort and fit above all. Randall is also the mother of three young boys with her husband and business partner Brian Murphy, and enjoys entertaining at her home in Brooklyn. —Eugenia Santiesteban Soto

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he’s the public relations director for preppy-chic menswear line Michael Bastian on paper, but Eugenia Gonzalez Ruiz-Olloqui’s role in the company doesn’t end there. She’s also a muse, frequent collaborator and best friend to the CFDA award-winning designer. The two met while working at Bergdorf Goodman (she was in PR, he was in menswear), and when Bastian looked to start his company, Ruiz-Olloqui was the first person he turned to. And though the Mexican born-and-bred fashionista incorporates some of Bastian’s pieces into her everyday wear (particularly the Michael Bastian for Gant women’s line that she collaborated on), her refined sense of style veers more along the lines of the feminine, with a twist that is distinctly her own. Her style has won her many best-dressed-list nods—you can catch her on any given day in Valentino or Dolce & Gabbana, boyfriend jeans with a Bastiandesigned scarf or a vintage dress picked up along her travels. —ESS

"I’m in love with the surfing in Puerto Escondido. I just stayed at The Hotel Escondido, which is on a gorgeous, remote beach.”

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“A place feels like home as soon as I add fresh flowers. Peonies are my favorite; I love their soft and powdered smell.”

FASHION SCENTS

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“Growing up watching my grandfather Jacques create all these amazing skin-care products, my beauty routine has always been very important.”

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“For the past five years, I have been wearing Thierry Mugler’s Alien Eau de Parfum. It’s uberfeminine and makes me feel very confident.” Available at Neiman Marcus

PRISCA COURTINCLARINS oining her family’s cosmetics business may have seemed like an obvious choice for Prisca Courtin-Clarins, but the MBA graduate—one of four granddaughters of Jacques CourtinClarins, the brand’s founder—focused on paving her own way. After stints at Yves Saint Laurent and L’Occitane, CourtinClarins’ entrepreneurial sprit prevailed and she created a chain of American-style nail bars in Paris, a previously unheard of concept in her native France. They became an instant hit. Only then did Courtin-Clarins focus her efforts on the family business, where the approach to beauty is as much on healthful eating as it is on skin-care regimens. She recently developed a holistic “Spa and Lunch” concept, the first of which opened last year in Lille. She plans to expand on the concept internationally in her new post as Clarins’ director of spa activities. —ESS

MIAMI VICE

“As the Global Spa Activities Director for Clarins, I travel often. My next stop is Miami where I love staying at the SLS Hotel South Beach.”

“I use Clarins Double Serum both in the morning and at night. After applying it, my skin looks younger and more radiant. It’s like a daily at-home minifacial.” Available at Neiman Marcus

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“I cannot leave the house without mascara. My favorite is Clarins Be Long mascara. It gives me long, luscious lashes that look very natural.”

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aura de Gunzburg was destined to work in the art world. Growing up in art- and antique-filled homes in Paris and New York, the Sotheby’s exec honed her eye early on. (Her mother, Nathalie, serves as chairman of the board of trustees at Dia Art Foundation). In her role at the auction house, she focuses on strategic partnerships and on cultivating the next generation of artists. “I’m extremely interested in discovering and supporting emerging artists,” she says. Constantly on the prowl for up-andcomers, de Gunzburg can often be spotted at the latest gallery opening or making the rounds at Frieze and Art Basel, among other fairs. And though her passion is evident in all her projects—like founding Dia’s Young Contemporary Members Committee—de Gunzburg also manages to make time for other pursuits. “As much as I live and breathe the art world, I also love fashion. I always make sure to leave time for a few shows during New York Fashion Week.” —ESS

STREET CHIC

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Meet Ms. Chloé

Three years at the reigns of Chloé, Clare Waight Keller carries the house into a new direction that’s more woman than girl—and still undeniably feminine. BY JESSICA MICHAULT PORTRAIT BY PATRICK DEMARCHELIER

Something is happening at Chloé. The French fashion house has long been associated with feminine style—and continues to be. But in the last three years since Clare Waight Keller has taken over as creative director, the iconic Chloé girl has been transformed into a modern, fresh woman. “Yes, I would say she is now a woman,” confirms Waight Keller, “but she still has the spirit and the energy of a girl. And I think that is what the Chloé woman is all about. She has that spark of vitality, a spontaneity about her and she is always a little bit quirky.” It is perhaps Waight Keller herself who has added that appealing dash of quirkiness into Chloé’s winning equation. Her collections show a natural and seamless blend of French sophistication with her own British roots. “I don’t think I could not have that element in there,” admits the designer. “It’s now this mix of a sort of casual sporty Englishness and French chic; it is something that I really love exploring.” Since her appointment in 2011, Waight Keller has used the 86 BAL HARBOUR

wealth of experience she garnered during her years as creative director at Pringle of Scotland and her time alongside Francisco Costa and Christopher Bailey as a senior designer at Gucci during the Tom Ford era. Already, the blanket coats from Chloé’s Fall 2014 runway show are must-haves for the season, closely followed by the intriguing dresses she designed to be held together by gold medallion adornments. Waight Keller even gave a classic wardrobe staple, the blouson shirt, a modern twist by inserting broad lace circle patterns into the silk fabric. The entire collection has an undercurrent of something a bit more daring than anything she’s done in the past. It’s a sensation the designer confirms was intentional, as she was inspired by images of Anjelica Huston traipsing through the hills of Ireland in the early 1970s. “All of the scenery and landscapes around her were very wild and rugged,” Waight Keller explains. “And she was often photographed in these shaggy textured coats and big boots. I just felt that there was something about that atmosphere,

As creative director of Chloé, Clare Waight Keller, has been instrumental in revolutionizing the luxury French fashion house.

‘‘THAT IS WHAT THE CHLOÉ WOMAN IS ALL ABOUT. SHE HAS THAT SPARK OF VITALITY, A SPONTANEITY ABOUT HER AND SHE IS ALWAYS A LITTLE BIT QUIRKY.”

that attitude, that felt really new and modern.” But the catwalk isn’t the only place Waight Keller is pushing herself. She just launched the brand’s new fragrance, Love Story, which happens to be the first scent she ever helped create—an eye-opening process that delighted her with its complexity. How the slightest change in ingredients could instantly transform the aroma, the primordial importance of the look and feel of the perfume bottle, and the way the scent changed on the skin were all aspects of the process that fascinated the designer. In the end, the fragrance she fell in love with is an Oriental yet floral mélange of orange blossoms with notes of jasmine and neroli. “There is a real mystery and depth to it and it changes as it develops over time,” she says. She also designed the bottle to echo the look of the padlock hardware from the brand’s iconic Paddington bag. It’s a clever choice, as it equally brings to mind the Parisian tradition of couples symbolically “locking in” their love by snapping padlocks onto the railings of the Pont des Arts and then throwing the keys into the Seine. The designer, a mother of three, credits being “super organized” as her secret to balancing work and family life. She also is committed

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to traveling to far-flung locations with her brood so that she can spend quality time away from work and to soak up new inspirations. When she can’t get away from the office, a trip to an art gallery is the next best thing to get her creative juices flowing. “I really make time for that,” Waight Keller says. “I make sure I am always going to exhibitions and galleries to go and look at the work that is out there.” It’s this passion for art that has lead to Chloé’s latest collaborative effort. The brand has teamed up with Studio Voltaire for its biennial House of Voltaire pop-up shop that opens in London in November. The store will be filled with limited-edition Chloé designs that Waight Keller created with artists such as Cao Fei, Karen Kilimnik and Jenny Saville. There will also be pieces for sale that blend the talents of fashion brands like Sibling and Simone Rocha with artists such as Jim Lambie and Kim Gordon, respectively. “The money we raise will support artists in residence and an art education program,” says the designer proudly. Clearly, Waight Keller’s nurturing and supportive nature is not just bringing Chloé back to life. It is helping the fashion house evolve into the womenswear brand it was always meant to be.

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ABOUT FACE

Three top models spill their secrets for staying fit and beautiful year-round.

CAMILA ALVES Matthew McConaughey’s wife Camila Alves is not only one-half of a Hollywood power couple, she’s also a fashion force to be reckoned with. With several major fashion campaigns under her belt, the Brazilian stunner also has her own successful handbag line, Muxo. When she’s not designing or taking care of her three children with her Oscar-winning husband, here’s how the model stays in shape. Her favorite workout: “Running after my three kids! But apart from that, I have been working out with Simone De La Rue (Body by Simone) and Gunnar Peterson.” On eating well: “I’m very balanced with my diet. I tend to stick to lean protein with vegetables, but I don’t restrict myself if I ever want to indulge in my favorite Brazilian dish. I cook most of my food, so I know what I’m putting into my body. I have more control that way! Right now, I am really into buffalo meat.” Guilty indulgences: “I cannot resist chocolate or chips and salsa if I see them. It’s like I get tunnel vision and nothing else is happening until I get it!” Her beauty routine: “I usually keep skin care pretty minimal. I typically use Cetaphil for cleansing and then Nude ProGenius Treatment Oil for hydrating. During the summer months, I’m a little more mindful of applying SPF, and in winter, I double up on lip balm.” Makeup bag must-haves: “Dior’s Diorshow Mascara and Addict Lip Glow.”

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LILY ALDRIDGE

IZABEL GOULART Any fashionista worth her weight in Louboutins is familiar with Brazilian model Izabel Goulart, who has starred in campaigns including H&M, MAC Cosmetics and Avon. Gracing covers of GQ Portugal and Vogue Brasil, this former Victoria’s Secret Angel is a strong believer in discipline and focus for obtaining results. Favorite workout: “I like mixing things up. I do kickboxing, Pilates, functional training and low weights. It’s more challenging for your body to do different types of exercise.” On staying fit on the road: “I focus on the results. It’s not just about looking good, it’s about being healthy and in touch with your body’s needs. I always pack the items I need to do a complete workout and set aside an hour to work out every day.” On diet: “I’ve learned how to eat healthier. I love cooking, so when I’m at home, my meals are always healthy and everything is homemade. I start my mornings with fresh fruit and vegetable juice. Between meals, I like to have a protein bar or shake.” Guilty indulgence: “I love bread! Any type, any time!”

Since landing her first modeling gig for Abercrombie & Fitch at age 16, Lily Aldridge quickly rocketed to model stardom, appearing in campaigns for Tommy Hilfiger, Rag & Bone, Coach and J.Crew, to name a few. Having earned her Victoria’s Secret Angel wings, this catwalker also graced the cover of the 50th anniversary Sports Illustrated Swimsuit Issue alongside fellow longlegged beauty Chrissy Teigen. When she’s not jet-setting around the world for high-profile modeling gigs or designing her line for Velvet, the Los Angeles native is on the road with husband, Kings of Leon frontman Caleb Followill. Between trips to London this summer to shoot the Victoria’s Secret holiday campaign and supporting her rocker husband on tour, Aldridge has mastered the art of staying healthy, fit and beautiful on the go. Favorite workout: “Ballet Beautiful.” On staying fit on the road: “I Skype my trainer and we do it online together!” On diet: “I generally eat well-balanced, healthy food and try not to eat anything food.” Guilty indulgence: “Chocolate pudding from Barbuto in NYC.” Makeup bag must-have: “Vitamin E chapstick.” Her beauty routine: “I use a lighter moisturizer in the summer and a heavier one for winter.”

PORTRAITS: CAMILA ALVES BY JOHN RUSSO; IZABEL GOULART BY ANDRÉ SCHILIRÓ; LIL ALDRIDGE BY RUSSELL JAMES

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Though sheâ&#x20AC;&#x2122;s been a front-row fixture for years, LYNN YAEGER still ponders the real cost (and value) of a well-placed seat during fashion week.

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PHOTO BY TOMMY TON / TRUNK ARCHIVE

Fashion journalist Lynn Yaeger has been covering Fashion Week shows for more than 30 years. BAL HARBOUR 123

PHOTO BY JD FERGUSON / TRUNK ARCHIVE

Lynn Yaeger stands behind André Leon Talley at a Marc Jacobs show.

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The first time I saw my name on a spindly gold fashion-show chair, my eyes filled with tears. I may have been in the 11th row, but it was the DKNY show, when the Seventh on Sixth tents were still in Bryant Park, and the paper taped to the seat said “Lynn Yaeger, Village Voice.” For me, it was like the equivalent of winning the Pulitzer Prize. But if I felt like I had finally arrived, it was hardly smooth sailing. In those early days, seats at shows like Todd Oldham, Anna Sui and Isaac Mizrahi were already coveted by local celebs, New York eccentrics and drag queens with hair piled so high you dreaded being stuck behind them. The last show of the evening was a serious nightlife event, a velvet-rope affair—and oh, the shame if your name was not on the list. (I still remember sobbing over the phone to my mother when I didn’t receive an invite to the Versus Versace show, an exotic interloper on the New York calendar, and she said, “I am so sorry for you Lynnie! I have no idea what you are talking about, but I am sorry.”) Of course, those days of rejection are—at least for the most part—far behind me, after so many seasons in the business (can it really be roughly 40 Falls and Springs?!). My seat may have moved up, but in my heart I am still that girl who is grateful to have any seat at all. Although I may have a ticket, it still comes with a price. If you are a writer, you are likely expected to weigh in about the shows, offering something honest, something provocative— something someone will want to read! But, how do you tackle that task without a: breaking any hearts, or b: risking being banned by a designer if your review is not a bowl of whipped cream? I remember crying in the press room over such a slight during an early fashion week (I certainly seemed to do a lot of crying in those days), when Bill Cunningham, the eminent photographer and a wonderful friend, told me, “Don’t take it so personally!” He then went on to lecture me, in the gentlest possible way, that I shouldn’t make friends with any designers, as that would compromise my independence and integrity. This was terrific advice, and I followed it for at least two weeks, or until the first designer asked me out for coffee. (I couldn’t help it! I am a friendly sort!) In the years that followed, I am not too ashamed to admit that

“THE FIRST TIME I SAW MY NAME ON A SPINDLY GOLD FASHION-SHOW CHAIR, WAS LIKE WINNING THE PULITZER PRIZE.”

I have hung out with these creators, had too much too drink, shared dark secrets—and then twice a year I am frequently called upon to sit in judgment of their most recent work. Well, who ever said life, or fashion, was meant to be easy? In a quest to figure out how to cover shows when I am frankly unthrilled by the strutting on the runway, I reached out to my bestie, columnist and theater reviewer Michael Musto. Mikey, who do you do if the play—how shall we say it—stinks? “I go backstage and say, you did it, you really did it! You said you would do it and hot damn, you did it!” he advised, recommending that you repeat this mantra as long as necessary. But what if circumstances—or your job— compel you to offer something more substantive? I asked Vanessa Friedman, the newly appointed fashion director and chief fashion critic at The New York Times, what she does when faced with a lessthan-stellar catwalk. “Sometimes I feel bad,” she admitted. “I understand how much work is involved—I get that! But I really believe that your positive words have no value if you aren’t also willing to be negative.” Whatever she is doing, her iron-fist-within-a-chic-velvet-glove approach seems to be working. “I’ve never been banned from a show. The designers may not like what I wrote, but they have to accept it. That’s what I owe them… you have to stick to your guns.” If Friedman represents one end of the fabulous fashion spectrum, my friend Mickey Boardman, the editorial director of Paper magazine, dances in the opposite direction, never risking bruising tender artistic sensibilities by shooting off his mouth. “I don’t think of myself as a critic, I’m more of a cheerleader!” he declared when I inquired, going on to confess that his own “my-name-on-the-chairat-DKNY”moment came at the cocktail party before the Met Ball and “Johnny Knoxville introduced me to the Olsen twins! And I saw Gabriella Windsor—the daughter of Princess Michael of Kent—dancing by herself!” Boardman, who remains sunny even under a broiler-hot tent in the Tuileries or slogging through the slush to Milk Studios in the Meatpacking District, informed me that he sees his role as “reporting the good news. I would never say, ‘Wow, that show was terrible.’ My job is to shine a light on the stuff that’s really great.” But Mickey, what if you are at a show and it’s really, really bad, and the designer buttonholes you, and there’s just no way out? He paused for a moment, the Chanel necklace reposing over his Lacoste polo shook softly, and then said, “It’s like when you go to a wedding and the daughter’s dress is really ugly. You say, the music is amazing!”

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WILD CHILD There’s nothing understated about this Fall’s wardrobe. PHOTOGRAPHY BY JAMES MACARI STYLING BY SARAH GORE REEVES Chanel wool tweed coat, cashmere pullover and knit pants, 305.868.0550. 132 BAL HARBOUR

Fendi silk chiffon jacket, 305.861.7114.

Proenza Schouler jacquard coat, Splatter print top and Flock print trousers, available at Saks Fifth Avenue, 305.865.1100; shoes available at The Webster, 305.868.6544.

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Chanel silk muslin dress and shearling flap bag, 305.868.0550.

Balenciaga leather embroided dress and leather stamp belt, 305.864.4932. 136 BAL HARBOUR

Gucci wool suit, leather ruffle shirt and python ankle boots, 305.868.6504.

Valentino wool sweater, leather fringe skirt and anklestrap pumps, 305.867.1215; Pomellato Tango bracelet, 305.866.1225; Roger Vivier mini zip clutch, 305.868.4344.

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Bottega Veneta crepe-wool coat, 305.864.6247.

Chanel Butterfly tweed sunglasses, 305.868.0550.

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Pucci wool and cashmere sweater and leather pants, available at Saks Fifth Avenue, 305.865.1100.

Stella McCartney Cierra parka, Eugene wool dress and Star platform sneakers, 305.864.2218. Photographer: James Macari Model: Anne V/The Lions Model Management Stylist: Sarah Gore Reeves Hair: Felix Fischer/Factory Downtown Makeup: Kajsa Svanberg/Art Department Manicurist: NQ/Art Department Stylist Assistants: Seppe Tirabassi, Katrina Athanasiou Photographerâ&#x20AC;&#x2122;s Assistants: Luke Dickey, Chris Parente Produced by Rika Noda/Art Department 142 BAL HARBOUR

Balenciaga silk sweater dress and satin trousers, 305.864.4932.

SIReN CALL

When attention is what you’re seeking, the only option is red. BY MIKAEL SCHULZ

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STYLING BY SARAH GORE REEVES

Akris angora-wool reversible coat, 305-866-2299.

Chanel wool tweed jacket, skirt and sunglasses, 305.868.0550. 146 BAL HARBOUR

Preen by Thornton Bregazzi satin top and pants, available at The Webster, 305.868.6544; Christian Louboutin Pigalle Follies mesh pumps, available at Saks Fifth Avenue, 305.865.1100; Roger Vivier top-handle bag, 305.868.4344.

Marni zip-up jacket and skirt and Lola hat, available at Saks Fifth Avenue, 305.865.1100; Roger Vivier calf-hair knee-high boots, 305.868.4344. 148 BAL HARBOUR

Oscar de la Renta coat and necklace, 305.868.7986; Graff ring, 305.993.1212.

Versace silk dress with shoulder detail and belt, 305.864.0044; Jimmy Choo Carmen satin with crystal pavĂŠ clutch, 305.864.3656. 150 BAL HARBOUR

Valentino dress with leather collar detail, 305.867.1215; de Grisogono Boule diamond earrings with orange sapphires, 305.865.8765.

Dolce & Gabbana jacket and skirt with black-velvet detail, 305.866.0503; Reece Hudson Rider mini bag, available at Intermix, 305.993.1232. 152 BAL HARBOUR

Calvin Klein woven coat and dress, available at The Webster, 305.868.6544; Valentino ankle-strap heels, 305.867.1215; de Grisogono ring, 305.865.8765. Photographer: Mikael Schulz Model: Mirte Maas/Women Management Stylist: Sarah Gore Reeves Hair: Danielle Priano/Tim Howard Management Makeup: Angie Parker/Altered Agency Manicurist: Ana-Maria/ABTP Stylist Assistants: Seppe Tirabassi, Katrina Athanasiou Photographerâ&#x20AC;&#x2122;s Assistants: Liudi Hara, Claudio de Menezes Produced by Fill in the Blank Production

With a day job as a creative director at Estée Lauder and an illustrator at all other hours, Donald Robertson is becoming the world’s best-known creative double agent. BY TED LOOS ILLUSTRATION BY DONALD ROBERTSON 154 BAL HARBOUR

PHOTO BY TARA SGROI

Thanks to Instagram, Donald Robertson, roving creative director at EstĂŠe Lauder, has transformed his hobby into a highly respected cultural art phenomenon.

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ALL PHOTOS BY TARA SGROI

tarving artists everywhere are praying that they’ll someday get a two-book deal and a massive social media following for their work. And there are plenty of others who would happily settle for a well-paid career as a creative executive at a high-end cosmetics company. All of those people probably despise Donald Robertson, aka Donald Drawbertson, who lives both those lives at the same time. At 52, the Westchester commuter dad—he has five children to add to his two careers—is one of the first art stars minted via popularity on Instagram, where he now has more than 84,000 followers (@donalddrawbertson). He does a lot of his drawing on the train on the way to his day job in Manhattan, where he’s a roving creative director for the Estée Lauder beauty empire, which includes Bobbi Brown and MAC Cosmetics, a brand he helped found three decades ago. Although his hobby sounds high-tech because of its delivery system, the painterly, brushstrokey and tossed-off style of his drawings is a kind of throwback to an earlier era. There’s a sense of old-fashioned fun in his lineups of bathing beauties (the typical Robertson post has a row of jaunty figures) and his explosions of lipstick kiss marks. Despite some comparisons to Andy Warhol, Robertson is coming

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from a very different place, and the storybook quality of this work is what keeps people coming back. “It’s not computery, it’s not tech— people love that,” he says, comparing the appeal of his work to Wes Anderson’s aesthetic. “I have to make sure that it doesn't get too slick— I have to keep the hand in there. They have to be able to see me making it.” Robertson’s most famous drawing to date showed Vogue Editorin-Chief Anna Wintour seated at her desk, with a glasses-wearing giraffe named Mitford showing her a memo. “There was so much commotion about that giraffe!” says Robertson with a laugh. Not only was the image regrammed zillions of times, it led to a two-book deal at Viking, one of which will follow the adventures of Mitford, the intern-giraffe, in the “fashion zoo.” The other subject is still to be determined. Among his other commissions of late, Robertson has an eight-page spread coming up in Harper’s Bazaar UK. “Whoever heard of such a thing for an illustrator-painter?” he asks, still in disbelief. “It’s the kind of thing Mario Testino would get.” When Robertson posted a cheeky drawing of Vanity Fair Editor-inChief Graydon Carter, suggesting that his skin tone was that of a Ritz Cracker and he should therefore be the brand’s spokesman, Vanity Fair regrammed it—and Carter himself asked to have the original. “It was like something that could have happened in 1935,” says Robertson,

At left, rows of whimsical, waiflike figures is a recurring theme in Robertson’s art. Above, Robertson working on a new multimedia piece using bright pieces of masking tape. Below, a Donald Robertson original featuring a portrait of Louis XV painted onto a Cap’n Crunch cereal box.

referring to the small-world feeling that Instagram, at its best, can foster. And he sees himself in the mold of an earlier time. “I like the idea of the guys in suits in the 1930s who were painting Vanity Fair covers as their main job,” he says, referring to illustration all-time greats like Miguel Covarrubias. “I’m at work at MAC in my suit, and painting these illustrations on the side.” Robertson’s path to fame was remarkably straightforward. The Toronto native attended art school “for two minutes,” he says, before deciding that it wasn’t for him. “I want to start a movement called Leave College Immediately: it’s a waste of time for a lot of creative people.” He helped found MAC Cosmetics in Toronto in his 20s, decades before boomeranging back to the brand once the Lauder family had acquired it. In the intervening years he worked at Condé Nast, largely under the legendary Editorial Director James Truman, and quickly became a leading creative director there. “Whenever one of those grand dame editors left, we’d reposition the magazine,” he says, and his stints included Glamour and Cargo. Robertson, who is married to decorator Kim Hastings,

now sees his creative director work and his drawing hobby as cut from the exact same quirky cloth. “This is what I have been doing all along, but now the curtain has been pulled back,” he says. He certainly found the perfect medium with Instagram. “Facebook feels like suburbia, and I didn’t like Twitter—it’s for talkers,” he says. “Instagram is for lookers, and it’s a global superhighway. This morning, I talked to friends in the Mideast, my friends in London, and Mexico. Oh, and January Jones.” The “Mad Men” actress saw his work and asked for a portrait, and Robertson happily obliged. And to his credit, personal fame isn’t Robertson’s goal— though he’s enjoying that a lot. He wants to boost the whole art form of illustration, which has suffered as photography came to dominate periodicals. “I just started selling things on the app Trendabl, and all these illustrators saw that and started sending their work in,” he says. “Now there’s a whole art section. I’m really happy about that. All these kids are coming up, and usually people don’t give illustrators the time of day. I mean, how many illustrators can you name?” Well, given his soaring popularity, at least one.

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TheWoolPack

Wrap yourself up in this season’s coziest sweaters and statement coats. PHOTOGRAPHY BY RICHARD PHIBBS

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STYLING BY SARAH GORE REEVES

Stella McCartney knit sweater dress, 305.864.2218.

Calvin Klein Collection black and navy coat, mohair tank and skirt, available at The Webster, 305.868.6544.

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Brunello Cucinelli wool and cashmere coat and cashmere sweater with Swarovski-crystal embellishments, 305.864.4833.

Michael Kors graphite plaid coat, 305.864.4144; Christian Louboutin Chelsea Chain boots, available at Saks Fifth Avenue, 305.865.1100.

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Valentino hooded cashmere cardigan, 305.867.1215.

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Phillip Lim shearling vest and Astral patch jeans, available at Neiman Marcus, 305.865.6161; Missoni sweater vest, available at Intermix, 305.993.1232.

Christopher Kane cashmere sweater and nylon skirt, available at Saks Fifth Avenue, 305.865.1100.

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Calvin Klein Collection cashmere turtleneck sweater, available at The Webster, 305.868.6544.

Photographer: Richard Phibbs Model: Emma Jane/The Lions Model Management Stylist: Sarah Gore Reeves Hair: Louis Angelo/Judy Casey Inc. Makeup: Kajsa Svanberg/Art Department Stylist Assistant: Seppe Tirabassi Photographerâ&#x20AC;&#x2122;s Assistants: Georgia Nerheim, Tre Cassetta Produced by Art Department

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Alexander McQueen double crepe-wool jacket with bow, 305.866.2839; Chanel cap, 305.868.0550.

IN HER HANDS

Alessandra Facchinetti is updating Tod’s with a fresh and modern look all her own. BY JACKIE COOPERMAN PORTRAIT BY BOO GEORGE

lessandra Facchinetti is inaugurating her second season as Tod’s creative director of women’s collections by celebrating modern artisans and the power of transformation. It’s a theme that fits Facchinetti’s own trajectory, from studying art, sculpture and architecture at Milan’s prestigious Istituto Marangoni to designing ready-to-wear and haute-couture collections for Prada, Gucci, Moncler and Valentino. Following Tom Ford at Gucci and Valentino himself at his eponymous house, Facchinetti, 42, found herself having to live up to almost impossible expectations. ”My experiences at Gucci and Valentino were very different,” Facchinetti says. “But they both were very important in deepening my knowledge of materials, as both share an appreciation of precious and unusual materials.” Now, at Tod’s, she’s found her groove, earning rave reviews from the often tough-to-please fashion press and imbuing her collections with her lifelong love of Italian vintage and contemporary design. Known for its luxurious handbags and iconic Gommino shoes, Tod’s tapped Facchinetti to help the brand move beyond accessories. Facchinetti is doing just that, updating classic looks (giving the Gommino a new metal buckle, for example) and inventing a slew of new ones. “I loved the fact that I was able to take the styles and details of the shoes and handbags to create clothing,” she says. “I was able to establish a whole new world of casual and sophisticated luxury.” Under her direction, Tod’s renowned artisans have created

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delicate, nearly lacquered leathers for the ready-to-wear collection. Mixing buttery leather with jacquard, wool, mink and cashmere, Facchinetti has invented a wardrobe that exudes sophistication and sporty affluence: supple peacoats, leather skirts, turtlenecks with removable fur collars, rimmed hats and leather bracelets. The daughter of Roby Facchinetti, lead singer and keyboard player of Italian pop band Pooh, Facchinetti radiates glamour but is a self-described homebody. When she was younger, she says, she dreamt of being a sculptor. “Art has always influenced my work and is an extraordinary point of reference for me,” she explains. Her Milan apartment is a testament to this, decorated with vintage finds, old photographs and floral arrangements. She also gets inspiration from the treasures she finds at Nilufar, Milan’s eminent dealer of 20thcentury furniture and carpets. In fact, carpets play a key role in some of this season’s bags, with tapestry-style geometric patterns and carpet fabric complementing luscious leather. The merging of high-end fabrics and leather in its many permutations—soft matte ponyskin, split suede, calfskin and goat— is central to Facchinetti’s vision. She’s found ways to make leather effortless yet unexpected, screenprinting it with animal patterns and giving shoes and boots a quasi-mirrored finish. Above all, she says, the collection is a reflection of essential Italian style mixed with a distinctly contemporary ethos. In Facchinetti’s words, the look is “incredibly comfortable and modern.”

PHOTO BY BOO GEORGE/STREETERS LONDON

Alessandra Facchinetti, creative director of women’s collections for Tod’s

“I WAS ABLE TO ESTABLISH A WHOLE NEW WORLD OF CASUAL AND SOPHISTICATED LUXURY.” BAL HARBOUR 171

COLOR (DE)CODED DIAMONDS MAY BE FOREVER, BUT COLORED GEMSTONES ARE VERY NOW. BY TANYA DUKES

ome say that a certain royal sapphire engagement ring—and the vogue it triggered for the precious jewel—was the first sign. The attention garnered by Cate Blanchett’s gorgeous opal earrings by Chopard and Amy Adams’ elegant Tiffany & Co. turquoise, lapis and rhodochrosite earrings at the 2014 Academy Awards only fueled momentum. And by the time Fall’s high-jewelry collections were unveiled—like Bulgari’s, which cascades with emeralds, amethysts and aquamarines—there could be no doubt: colored gemstones have acquired new allure for royals, red-carpet regulars and the rest of the world, and are challenging diamonds in the hierarchy of desired jewels. This isn’t the first time that colored gemstones have been prized, of course. They have always been bound up in lore that extolled their special properties. Rubies, for example, were deemed the most precious gemstones in ancient Sanskrit texts, while in China, jade was treasured for its alleged power to eternally preserve the body. And during the Renaissance, pearls were seen as a symbol of purity, particularly favored by Elizabeth I, the notoriously chaste English queen. Even if our contemporary concerns are rooted in aesthetic appeal, historical inspiration has nevertheless affected some of David Yurman’s new designs. According to Lee Tucker, the brand’s executive director of merchandising, Yurman’s fascination with Renaissance and ancient-Roman jewelry is a main influencer in the designer’s use of color, which includes purple amethyst, soft green prasiolite and golden citrine. For Fall, Tucker says we’ll see “smaller-scale bracelets in 18-karat gold featuring emeralds, sapphires and rubies”—elements of color that can be worn daily.

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But the prevalence of color isn’t just for casual pieces. Jewelry connoisseurs recognize that gemstones are every bit as precious and desirable as diamonds and they are willing to spend accordingly. Pomellato pioneered the use of vibrant gems with a relaxed sensibility when it introduced the streamlined Nudo rings in 2001. But beyond the brand’s signature styles, according to CEO Andrea Morante, Pomellato also “searches for the most extraordinary stones for its POM POM collection of oneof-a-kind pieces.” This year, that translated to a tropical-themed offering that featured luminous cocktail rings with painstaking effects like a “degradé pavé of gems that moves from deep tones of red spinels to tourmalines to purple sapphires.” That ability to combine colored gemstones with results that veer subtle and tonal or brazenly clashing is part of the appeal for their wearers and creators. Fawaz Gruosi, founder and creative director of de Grisogono, is singleminded in his approach, insisting that he chooses “precious materials and gemstones with utmost care in pursuit of absolute beauty without being bound by convention.” His trailblazing use of materials often overlooked by others and the geometric designs that combine extravagant scale and color bears him out. Meanwhile, in Cannes this summer, Chopard debuted 67 unique Red Carpet Collection designs, many using lavish color that, according to Caroline Scheufele, the house’s co-president and creative director, capture “the glamour and voluptuous beauty” of midcentury Italian actresses. But at its root, the attraction to colored stones may come down to something much more basic. Scheufele insists that these jewels can evoke certain emotions. “When I’m looking at a deeply saturated stone,” she says, “I can’t help but be in awe of these wonders formed by nature.”

COLORED GEMSTONES ARE CHALLENGING DIAMONDS IN THE HIERARCHY OF DESIRED JEWELS.

Chopard Red Carpet collection bluesapphire and diamond necklace set in 18-karat white gold; Red Carpet collection earrings with amethysts, topaz and blue sapphires. . BAL HARBOUR 173

IN ANCIENT SANSKRIT TEXTS, RUBIES WERE DEEMED THE MOST PRECIOUS GEMSTONES.

Pomellato Pom Pom Haute Joaillerie collection ruby, rose-gold and burnishedsilver bracelet; de Grisogono Melody of Color ring with cushion-cut amethyst and spinels set in pink gold. 174 BAL HARBOUR

Bulgari High Jewelry collection Profumo di Capri necklace with mother-of-pearl, rubellites, peridots and diamond pavĂŠ set in 18-karat yellow gold; Graff carved-emerald and diamond brooch.

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Tiffany & Co. bracelet with garnets, pink tourmalines, fire opals and yellow diamonds set in 18-karat yellow gold; Piaget Rose Passion earrings with diamonds, orange garnets, yellow sapphires, aquamarines, green tourmalines, blue sapphires and rubellites set in 18-karat white gold.

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Tiffany & Co. Jean Schlumberger Arrows brooch with amethysts, Montana sapphires and diamonds set in 18-karat yellow gold. BAL HARBOUR 177

IMAGES COURTESY OF BOTTEGA VENETA

Tomas Maier, creative director of Bottega Veneta, is responsible for turning the brand into the luxury fashion powerhouse it is today.

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BEHIND THE CURTAIN

Tomas Maier has been quietly redefining luxury at Bottega Veneta for the last 13 years. We take a peek inside the Italian headquarters to see what heâ&#x20AC;&#x2122;s weaving next. BY BEE SHAPIRO PORTRAIT BY COLLIER SCHORR

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pend decades in fashion, an industry bent on the cult of personality, and chances are you’ll lose some of your mystery. That’s because a designer today is under special scrutiny. Not only are his talents parsed, dissected and re-parsed, so are his habits, hobbies and even pets (see: Choupette Lagerfeld). Despite this milieu and spending 13-plus years as creative director of Bottega Veneta (and many more behind the scenes in the ateliers of Hermès, Sonia Rykiel and Revillon), Tomas Maier remains something of an enigma. Here’s Maier in brief: in June 2001, Tom Ford, who was the creative director of the Gucci Group at the time, convinced him to take on the conglomerate’s troubled Bottega Veneta label. Maier, known for his smart German-type precision (“working toward perfection, for me at least, is never-ending,” he says), gave the storied but mired brand a literal jolt. Going against the current of logo-emblazoned fashion,

woman and her personal experience of them,” he says. The result? The label has grown by more than 1,400 percent. Not exactly the discount racks. But what about the man behind the label? He may not be throwing yacht parties on the Mediterranean, but he’s perhaps even more fascinating. The New Yorker described him as a “hipster monk” while Harper’s Bazaar revealed he’s an outdoor enthusiast (who embarks on adventures with close pal and fellow perfectionist Martha Stewart, no less). The truth is, Maier is tough to pigeonhole and you get the sense he likes it like that way. He prefers his interests myriad and changing. “I'm inspired by so many things, from art to nature to music,” he says. “But it's rarely a direct inspiration that can be clearly demonstrated from point A to point B.” His upbringing may have something to do with it. Born and raised on the edge of the Black Forest in Pforzheim, Germany, Maier attended a Waldorf school, which taught crafts along with academics. “We learned to weave, sew, farm and work with wood,” he remembers. His father

appeals to them.” That customer is willing to shell out more than a few shekels. For Maier, Bottega’s eyepopping prices are a product of the craftsmanship required. “Fashion—even luxury fashion—does not have to be particularly wellcrafted to gain attention and sell,” he notes. (He points out that for young designers today, “it can be difficult to get attention without making a big, splashy statement.”) “But those who seek our items care deeply about how an object is made and appreciate what we offer.” In Maier’s case, that might mean the lining of a dress is just as indulgent as the exterior. Also, fashion and function must work together, and, of course, it all has to meet a certain Maier standard. “Though we can get close, nothing is totally perfect,” he concedes. “And this is probably a good thing, because there is undeniable beauty in the inexactness of the handmade.” Handmade, in this case, is not of the Etsy sort. Instead, Bottega Veneta relies on its Italybased artisans, who still work the signature intrecciato by hand. Maier is fiercely proud of

“Nothing is totally perfect. There is undeniable beauty in the inexactness of the handmade.” —Tomas Maier Maier scrapped obvious labels in favor of quiet luxury. He refused interviews during his first year, wishing the work to speak for itself. Instead, he focused on establishing Bottega’s signature intrecciato, a technique of hand-weaving leather that’s done by artisans in Italy. The week after 9/11, the sumptuous weave made a splash with the Cabat; the nondescript woven-leather tote seemed to match the more austere attitude of the moment. By comparison, It Bags, a product of the Carrie Bradshaw era, seemed flagrantly gauche. With Maier, the notion of luxury is discreet—as if there’s an intimate handshake to enter an exclusive Bottega club. This non-marketing proved to be a sales genius. Despite price tags in the $5,500 range, the Cabat became a celebrity favorite and spawned waiting lists. It’s been one accessory hit after the other ever since. Most recently, the brand launched the Olimpia, a shoulder bag inspired by the Teatro Olimpico in northern Italy. Maier has made his stamp in clothing, too. For example, rather than some alien fembot muse, Maier sought freedom of movement and confidence for his Fall 2014 collection. His method puts his clients first. “We are always thinking about what clothes should do for a

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was an architect, a profession he considered at one time. Now he sees a synergy between fashion and architecture. “Both explore the possibilities of material, construction and proportion, and combine elements of creativity with practical problem-solving,” he says. After studying at the Chambre Syndicale de la Haute Couture in Paris and working in major fashion capitals, Maier was ready for the beach. Today, he occasionally drops in on his New York studio, but he has long called Delray Beach—more the epicenter of sunbathing than catwalking—home. “Having some distance from the world of fashion helps clear my mind and recharge,” he explains, adding that it’s the Floridian “light, water and wide-open space” that he loves. Likely, having that remove has also given him perspective. Despite our current mode of “more is more,” Maier’s type of minimalism, which he describes as a tendency toward simplicity rather than a die-hard approach, extends to consumption. He’s convinced “it is better to consume less if it means buying higher quality objects.” The idea, he says, “isn’t that a client should buy one bag in every color. We offer choices so each client can choose what

them; they’re often even more perfectionistic than he is, he says—a very high compliment indeed. “Upholding these standards is not very difficult when you hire the right people and create a good work environment,” he adds. In fact, one of the high points of his tenure at the luxury label was when a new atelier was constructed in Montebello Vicentino. “Creating an atelier worthy of our artisans is something I dreamed about for years,” he says. Italian artisans may seem quaint in today’s Mach-speed fashion world, but Maier is no relic. “I'm a believer in online shopping,” he says. “Though it will never replace the experience of going to a boutique and discovering the pieces in person; it's one more way to provide excellent service to the customer, wherever they may be.” Even if Maier approves of instant web gratification, he is still charting the waters at the speed he intends. “I feel we are on the right course,” he says. “I would be happy with slow but steady continued growth.” The pace is one where he can still take time to enjoy himself. But it’s not the jet-set designer life he’s after. Rather, he says: “I'd love to be swimming in the ocean or gardening.”

IMAGES COURTESY OF BOTTEGA VENETA

Bottega Veneta’s atelier in bucolic Montebello Vicentino; below, the making of the brand’s iconic Knot bag; looks from the brand’s Fall 2014 collection.

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DRAWN TO FASHION The elegant niche of FASHION ILLUSTRATION is gradually expanding, elevating a season’s trend to FINE ART. BY JESSICA MICHAULT

The death knell of fashion illustration has ostensibly been ringing for more than half a century. Photography has clearly become the main avenue via which designers, fashion magazines and advertisers choose to convey their brand message or a particular collection to the world. But to paraphrase Mark Twain, the reports of the death of this singular style of illustration are greatly exaggerated. Not unlike haute couture, which is also the victim of countless “the end is near” editorials, fashion illustration has become something of an elegant niche market within the industry. It is a form of expression that gives a unique and personal perspective to clothing. Instantly transforming the garments and elevating the pieces, an illustrator has chosen to immortalize to a new artistic plane. According to the legendary fashion illustrator David Downton, his works “utilize the eye, the hand and the heart.” He believes that “as long as there are designers designing, we will need artists to interpret their work—one art form describing another.” It is true that fashion illustration has been around for hundreds of years. But its domination as the main method for documenting the changing moods of fashion began to wane with the arrival of fashion photography in the 1930s. It was then that the work of photographers such as Edward Steichen, Horst P

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An illustration by David Downton for Asos magazine, 2010

“A FASHION ILLUSTRATION REVEALS SO MUCH MORE ABOUT THE ARTIST THAN A PHOTOGRAPH EVER CAN.” —WILLIAM LING An illustration by Tanya Ling for Louis Vuitton’s Spring/Summer 2010 collection

Horst, Irving Penn and Cecil Beaton, as well as those who followed them, would take the lead in telling fashion’s story. Granted, illustrators such as René Gruau, René Bouché, Dagmar Freuchen-Gale and Antonio Lopez would leave indelible marks on fashion, but by the mid-‘60s, the global youthquake caused an industry-wide desire for contemporary imagery that echoed the systemic changes being felt on the city streets. This shift led to a long fallow period for fashion illustrators. Only a handful of them like Downton, Lopez or their peer Gladys Perint Palmer, who had a highly unique and recognizable style, were able to prosper and make a name for themselves. “People always ask me, ‘When did

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fashion illustration come back?’ But as far as I was concerned, it never went away,” says Perint Palmer with a laugh. Surprisingly, it was the advent of the digital age that helped the rebirth of the fashion illustrator. Perint Palmer heralds the usefulness of the iPad, on which she now sketches some of her designs. “Today, you can be on the iPad doing a drawing under somebody’s nose and they don’t even notice—because everyone is on an iPad. It’s like the invisibility cloak.” Blogs and websites have sprouted up, not only those that highlight the long-forgotten work of past illustrators, but those that have became

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“PEOPLE ALWAYS ASK ME, ‘WHEN DID FASHION ILLUSTRATION COME BACK?’ BUT AS FAR AS I WAS CONCERNED, IT NEVER WENT AWAY!” —GLADYS PERINT PALMER

iPad drawings by Gladys Perint Palmer of photographer Bill Cunningham and a python dress from Azzedine Alaïa's Spring/Summer 2014 collection.

platforms for promoting budding artists looking to break into the fashion industry. And then there are the independent online and glossy magazines that turn to illustrators as a way to re-create “fashion shoots” out of drawings. It’s a particularly useful tool when access to the hottest pieces of the season is not an option. In 2007, the Fashion Illustration Gallery was founded in London in reaction to the growing demand for new talent. “A fashion illustration reveals so much more about the artist than a fashion photograph ever can,” says William Ling, the gallery’s founder. “The photographer is hidden in the shadows whereas the illustrator stands in the light. The photo is mean whereas the illustration is generous. Photography steals time whereas illustration gives time.”

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One of the most interesting ways that fashion illustration is getting a new lease on life is how its artists are moving from being observers of the industry to central participants in the creative process. Many leading illustrators are finding success collaborating with fashion houses on bespoke drawings. Ricardo Fumanal for Moncler, Richard Haines for Prada, Zoë Taylor for Marc by Marc Jacobs and Tanya Ling for Louis Vuitton are just a few examples of modern illustrators using their talents to create artwork that instantly have a global reach. Downton certainly has no fear that illustration will ever truly disappear from the fashion landscape: “We are still talking about it, still feeling its power and witnessing a creative revival. Long may it continue!”

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Top Shelf Stock up on these stylish tomes.

This polished tome documents the life of fashion icon Loulou de la Falaise in more than 400 images by acclaimed photographers. With a foreword by Pierre Bergé and interviews with her friends and mentors, this book establishes de la Falaise as part of the elite club of fashionistas from the 20th century whose legacy is still felt today. (Rizzoli)

Loulou de la Falaise (right) with Yves Saint Laurent

Young Hollywood Portrait photographer Claiborne Swanson Frank captures the young women that are currently taking Hollywood by storm. Each of the actresses, writers, directors, producers and stylists—including Cody Horn, Amber Heard, Olivia Thirlby, Lea Michele and Ireland Baldwin—is captured in a way that is reminiscent of Old Hollywood. (Assouline)

Streisand: In the Camera Eye Through a number of essays accompanied by 170 compelling photographs— many of which have never before been published— author James Spada documents the career of the legend that is Barbra Streisand. It also gives a more personalized look into the beloved perfomer’s life away from the set and stage. (Abrams)

The French Riviera in the 1920s

The Last Swan Style icon Marella Agnelli shares her personal memoirs with this stunning publication that features the homes and gardens that she visited throughout her glamorous life as a highsociety It Girl. The title is a nod to Truman Capote’s “swans,” the beautiful jet-set women whom he frequently cited as his muses. (Rizzoli)

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In the 1920s and 30s, the French Riviera was a gathering place for some of the world’s most admired creatives. This book takes a first-hand look at the life and work of the artists and writers—notably F. Scott Fitzgerald, Pablo Picasso, Igor Stravinsky, Sergei Diaghilev and Anna de Noailles—who were inspired by the shimmering turquoise waters of the French Mediterranean. (Assouline)

All titles available at Books & Books Bal Harbour.

© LOULOU DE LA FALAISE EDITED BY ARIEL DE RAVENEL, WRITTEN BY NATASHA FRASER-CAVASSONI, RIZZOLI NEW YORK, 2014, INTERIOR IMAGE BY PIERRE BOULAT; MARELLA AGNELLI: THE LAST SWAN, RIZZOLI NEW YORK, 2014, INTERIOR IMAGE BY FRANÇOIS HALARD

Loulou de la Falaise

American Cities Compiled by map experts Paul E. Cohen and Henry G. Taliaferro, this historical tribute to American cities features early maps and photographs—many rare or previously unpublished—that document the birth and growth of nine major urban hubs in the U.S. (Assouline)

OPEN BOOK Four beautiful bookworms share their favorite lit-picks.

Nick Brandt: On This Earth, A Shadow Falls In 2001, photographer Nick Brandt embarked on a series of black-andwhite photography books paying homage to the enchanting wildlife of East Africa—elephants, giraffes, lions, gorillas and more. Here, he compiles 90 of the best images from his first two books with essays by Peter Singer, Jane Goodall, Alice Sebold and Vicki Goldberg. (Big Life Editions)

33 Artists in 3 Acts Sarah Thornton asks, “What is an artist?” as she travels the world to interview creative minds—from Jeff Koons, Maurizio Cattelan and Cindy Sherman to Lena and Grace Dunham— finding out what inspires them and how they believe their work is received by the rest of the world. (WW Norton)

Laura Gómez, actress “Hateship, Friendship, Courtship, Loveship, Marriage” by Alice Munro “I just started this book. Alice is a revolutionary and a visceral storyteller and I’m excited to see how it ends.”

The Impossible Collection of Watches Nicholas Foulkes pays tribute to the 100 breakthrough timepieces of the 20th century, hand-selected based on design, innovation, rarity, cost and historical relevance. Standout pieces include Omega’s 1915 Lawrence of Arabia aviator chronograph, Breitling’s 1962 Cosmonaute and the 1985 Ulysse Nardin Astrolabium. (Assouline)

Shiri Appleby, actress “Truth & Beauty” by Ann Patchett “It’s an incredible story of two girls growing up, finding themselves and developing a friendship that will leave an imprint on your mind and heart.”

Yamamoto & Yohji This tome features more than 600 photos complemented by essays and interviews that explore the 40-year career of Japanese fashion designer Yohji Yamamoto, who is known throughout the world for his fresh silhouettes and “antifashion” approach. (Rizzoli)

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The Essential Cy Twombly Edwin Parker “Cy” Twombly, known for his abstract, almost “messy” works of art, is recognized as one of the late great artists of our time. This colorful collectors’ item presents some of his best photographs, drawings, paintings and sculptures, spanning his entire career from the early 1950s up to his death in 2011. (D.A.P./Distributed Art Publishers)

Nigel Barker, fashion photographer and TV personality “The Goldfinch” by Donna Tartt “A brilliant, exciting novel that kept me glued to the pages from beginning to end. It is going to make an amazing movie one day!” —Alyssa Shelasky

Stephanie March, actress, co-founder of Rouge NY and contributing editor to Fathom “Special Topics in Calamity Physics” by Marisha Pessl “This book was recommended to me by my reading guru and childhood best friend, Sarah Hepola. It came out of nowhere. I knew nothing about it. I fell dead in love with it and have since recommended it to many.”

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305.929.7010 or 877.929.7010 toll-free MCB is supported in part by an award from the National Endowment for the Arts. Artworks. Sponsored in part by the State of Florida, Department of State, Division of Cultural Affairs, and the Florida Council on Arts and Culture. MCB programming is made possible with the support of the Miami-Dade County Department of Cultural Affairs and the Cultural Affairs Council, the Miami-Dade County mayor and Board of County Commissioners. City of Miami Beach, Cultural Affairs Program, Cultural Arts Council. A copy of the official registration and financial information may be obtained from the division of consumer services by calling toll-free (800) 435-7352 within the state. Registration does not imply endorsement, approval or recommendation by the state. MCB registration number: CH1034. Photo: Patricia Delgado and Renan Cerdeiro in Romeo and Juliet, ÂŠ Alberto Oviedo.

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To celebrate the opening of THE WEBSTER’s new mens store, co-founder and CEO LAURE HERIARD DUBREUIL shares her top looks for Fall.

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Haider Ackermann

1. “While the snow from AMI’s Paris show won’t likely make it to Miami, this red suit is a statement piece in any climate.” 2. “Haider Ackermann has the best look for dining al fresco this winter.” 3. “I can definitely see Alexander Wang’s NYC street-inspired collection in Miami this season.” 4. “Basketball is the sport to watch here in South Florida. Miami Heat players would look great in Givenchy.” 5. “This eagle-embroidered coat is the masterpiece of Valentino’s amazing collection from Maria Grazia Chiuri and Pierpaolo Piccioli.” 6. “What’s more appropriate than Raf Simons collaborating with artist Sterling Ruby for a collection available during Art Basel?” 202 BAL HARBOUR

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FASHION FÊTES Partying around the world with Bal Harbour's brands

Jimmy Page and Paul Weller at the John Varvatos London store launch party

Patrizio di Marco at Gucci

Blake Lively and Solange Knowles at Gucci

Amanda Weiner at Gucci

Liya Kebede at Stella McCartney

Athena Calderone at Gucci Liv Tyler and Maggie Gyllenhaal at Stella McCartney

The Hives performing at John Varvatos 204 BAL HARBOUR

Miroslava Duma at Gucci

Ian Watt at Gucci

Stella McCartney with models at her Spring 2015 presentation in New York

Beyoncé Knowles and Frida Giannini at Gucci’s Chime for Change event

at Bal Harbour Opening December 2014, Hillstone at Bal Harbour joins the collection of Hillstone restaurants in vibrant neighborhoods across the country. Join us for a diverse menu of American classics, a relaxed atmosphere and exceptional service. Whether you are new to Hillstone or a long standing guest, we look forward to welcoming you.

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Jeff Koons and Stella McCartney

Tomo Kurata, Leah Weller and Natt Weller at John Varvatos

Inez van Lamsweerde and Vinoodh Matadin at Stella McCartney

Zack Bogue and Marissa Mayer at SFMOMA 206 BAL HARBOUR

Miranda and Elektra Kilbey at Gucci

Pippa Cohen at Gucci

Models at the Stella McCartney Spring 2015 presentation

Iggy Pop and Nina Alu at John Varvatos

Jenny Lewis at Stella McCartney

John Varvatos and Ringo Starr

Jaime King and Carlos Souza Valentino’s SFMOMA’s Modern Ball

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SERIOUS FASHION With two books and decades reporting on fashion for The Wall Street Journal, TERI AGINS has seen just about every side of the fashion industry. Here, she sits with writer Mark Ellwood to discuss her latest book, her earliest runway memories and the future of fashion.

eri Agins is an outlier among fashion editors. She’s spent a career charting the rise and fall of stock prices rather than hemlines, as the pre-eminent fashion-business reporter in the world. We became friends when I wrote to her gushing about her last book, “The End of Fashion,” which charted the seismic changes in the clothing business in the 1990s. Her new book looks at changes over the last decade in that same industry. The title says it all: “Hijacking the Runway: How Celebrities Are Stealing the Spotlight from Fashion Designers” (Gotham). I know you’ve been working on this book for a few years; what sparked the idea? I was working on a story for The Wall Street Journal about Jessica Simpson’s first fashion line. I’d been watching celebrities take over magazine covers and red carpets—clearly they were having more influence—but it was the Jessica Simpson piece that galvanized my idea. One of my favorite insights from the book was about the fashion show’s front row—that until recently, it was considered the worst seat in the house. When I first started covering the industry, I was going to all those shows at The Pierre hotel in NYC, where the seated rows were on the same level and the runway was quite elevated; the photographers surrounded it like a moat. They were bopping up and down all the time, so the one place you did not want to sit was the front row—you couldn’t see! Then the shows converged on Bryant Park in a more organized way, creating the very idea of front-row celebrities. Fashion Week became an international event, and they redesigned the runways to be on the ground to try and pack people in. Instead of 40 photographers around the runway, they had 300

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in that pit at the end. Former Fashion Week czarina Fern Mallis told me that 20 to 30 percent of those photographers weren’t there to take pictures of the show; they wanted scenes of what was going on in the front row. The seating hierarchy is so potent at fashion shows today. I always say it’s like a performance review in front of your peers. When I first started, I got bad seats everywhere because The Wall Street Journal had never done much coverage of the fashion industry. So we all did the seat switcheroo: sneaking into shows, changing numbers on seats. Bleacher seating was my favorite—you can always squeeze another set of hips in there. Who gave you your first front-row seat? Isaac Mizrahi. We all liked his show because there were really long runways and, in effect, plenty of front-row seats. I also didn’t know that most celebrities return the red-carpet gowns they borrow, since they can only wear them once. There’s one major exception, though… Cate Blanchett. She is into the art of fashion, with a real sense of scholarship. She doesn’t return the key gowns she wears at certain events; she keeps them and archives them in acid-free paper. I’d compare her to some of the socialites from the 1960s or ’70s like Nan Kempner or Jacqueline de Ribes. She is a fashion connoisseur. So what happens now that celebrities have crept onto the runway? Does the industry push back? Many designers are trying to heighten their profiles so that they become celebrities themselves and make their brands more exciting to shoppers. They will be finding ways to tap-dance their way into prime time, doing a lot more outside the design studio. I see them

endorsing hotels and restaurants. It’s the same way that Isaac Mizrahi was blessed because he was a singer and piano player; let me tell you, he did club gigs. Seeing a designer in so many venues—on the Food Network, sharing photos on Instagram—it’s all about getting to know them as a personality, as celebrity as well as a fashion designer. It’s part of how designers are now showing where they vacation or putting their homes in magazines. You get more of a sense of who they are, their personal taste. It’s a cumulative thing. Who’s at the forefront of that? Tom Ford is the perfect storm of celebrity and designer. He will soon be at top of the heap— he’ll get a best-director nomination at the Oscars for his next movie. He’s so handsome and dapper that he even looks like a movie star. He makes it all seem so effortless. He would get up at 3 a.m. to do an interview and be on the phone for an hour, and you’d get great, detailed dish. When I won the American Accessories Council award in 2005, he presented it to me—he was my date for the evening. I told him, ‘You are the perfect date. I’m used to going to parties and working the room, but we can just sit still and everybody comes to us.’ What other designers have that same combination of charm and talent? Michael Kors. He’s brilliant. He always has a great quip ready and he’s so genuine. Of course, he was always a ham—he was a child star and did commercials for Charmin and Lucky Charms— so he’s used to being in front of the camera. But, when he was asked to do “Project Runway,” he initially didn’t want to. He thought it was going to be a cheesy reality show. But at that time, his company was expanding into accessories and needed a footprint with the masses.

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