FALL/WINTER 2021
Sanne Vloet
BORN IN LE BRASSUS
SÉBASTIEN FOUCAN
RAISED AROUND THE WORLD
AUDEMARS PIGUET BOUTIQUE MIAMI : BAL HARBOUR SHOPS
ROMA
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FE N D I .CO M
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HA R B O U R
S H O P S
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About Love
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A SUBLIME COMPOSITION
It’s not simply the form, the aspect or the views that will stir you. Nor is it just the serenity or the intimacy of the restaurant. Between the subtlety and depth of Piero Lissoni’s interiors, the comfort and care of 5 star amenities, you’ll also find inspiration from seven of the world’s leading contemporary artists. But much more than that... You’ll find home. Beachfront residences at Oceana Bal Harbour. Limited selection available.
10201 Collins Avenue Bal Harbour, FL 33154 oceanabalharbour.com 786 414 2914 Pluto & Proserpina – Jeff Koons
Nothing herein shall constitute an offer to sell real estate in jurisdictions where prior qualification is required unless we have met such qualifications. The sketches, renderings, graphic materials, specifications, terms, conditions and statements contained in this brochure are proposed only, and the Developer reserves the right to modify, revise or withdraw any or all of same in its sole discretion and without prior notice. The photographs contained in this brochure have been taken off-site and are merely intended as illustrations of the activities and concepts depicted therein. For New York Residents: All prices are estimates. This advertisement is not an offering. This advertisement is a solicitation of interest in the advertised property. No offering of the advertised units can be made and no deposits can be accepted, or reservations, binding or non-binding, can be made until an offering plan is filed with the New York State Department of Law. This advertisement is made pursuant to Cooperative Policy Statement No. 1, issued by the New York State Department of Law. (Oceana Bal Harbour Condominium CPS No. -140057, Sponsor: Consultatio Bal Harbour, LLC, Sponsor’s Address:10201 Collins Avenue, Bal Harbour, Florida 33154). Copyright 2015 Consultatio Bar Harbour, LLC – All Rights Reserved. EQUAL HOUSING OPPORTUNITY
FALL/WINTER 2021
Contents
Model Zoe Council wears an Etro dress and Chopard diamond bracelet, styled by Sonia Young. Photo by Ryan Pfluger.
MATTER OF STYLE News from Bal Harbour Shops and the fashion community at large.
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THE BOLDEN AGE Jason Bolden is laying the groundwork for stylists to become stars in their own right—and shifting the
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THE BHS EDIT We’ve gathered 10 must-have menswear looks and accessories in this special edition of the BHS Edit.
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Hollywood narrative while he’s at it. WHAT DOES AMERICAN FASHION MEAN TODAY? Writer Kristen Bateman talks to a few experts about what defines the times. 76 THE RETURN OF PERSONAL STYLE The statement season is back, and this time it’s all about what you want to say. OPERATION OPULENCE We’re normally not ones to make a scene, but this season we’re bringing on the drama.
STYLE SETTERS We catch up with three powerhouse women in fashion and philanthropy to get their must-haves for the season.
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MUST-HAVES Accessorize in the season’s most celebrated trends: green, metalwork, neon and the coziest cuddle-worthy pieces.
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PORTRAIT MODE In a world of selfies, the collar necklace takes on a new significance as the ultimate face framer.
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THE FUTURE IS NOW Isabel Marant opens her Bal Harbour boutique with a future-forward collection that hits the mark right now.
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contents
Model Marie Teissonniere wears an Alexander McQueen jacket and skirt, styled by Dominick Barcelona. Photo by Vanessa Granda.
FOWL PLAY How did Golden Goose’s “dirty” sneakers—pre-made scuffs, scrapes, streaks and all—become so damn popular?
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ON TIME Nick Remsen takes notes on this year’s most impressive new watches.
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OPEN TO INTERPRETATION Introducing this year’s Creative Challenge winner Amalia Restrepo.
IN THE ATELIER Peering into the creative spaces of artists and designers will forever delight us. We’ve asked a few of our
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favorites to open their doors and share a bit about what they’re working on. PUT A RING ON IT Maria Tash knows no boundaries when it comes to piercing, and her new Bal Harbour boutique is the latest
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showplace for her vast array of fine jewelry for the body. TAKE A BOW Stella McCartney’s Winter collection is packed with the moment-defining looks we have been waiting for. THE SECRET INGREDIENT Chef Mina Stone and Artist Urs Fischer talk about food, friendship and Stone’s new book.
REPRESENTING AN ICON The legendary architect Peter Marino looks back on his 25-year-long collaboration with Chanel.
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LIFE HACK At Gucci, Alessandro Michele leads the way with unexpected—and exhilarating—new takes on fashion partnerships.
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SCENT IN STONE Chanel celebrates the centennial of its No. 5 perfume with a high jewelry collection.
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A BRAZILIAN BODY OF WORK We peek into Stewart Shining’s new monograph on supermodel Alessandra Ambrosio.
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Gray Malin’s Out of Office
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contents
DREAM STATE This season has all of the looks—whether you’re escaping reality or settling back into it. From silky sweet frocks
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to logo-laden coats and prints galore, it’s hard not to get carried away. A HERO FOR NOW We sit down with Balmain Creative Director Olivier Rousteing to talk about past, present and future.
THE SPACE BETWEEN Sometimes a little tension can be a good thing. This season, mix soft fabrics with a structured coat,
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or pair a voluminous dress with sneakers for a fresh take on classic looks. THE LOST CITY OF SOUND How Jonathan Weiss creates the best audio gear in the world.
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SPINNING STRAW INTO GOLD Through her singular vision and resilience, Ruth Asawa saw the art in everything she touched.
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AN ILLUSTRATED LIFE Artist Reyna Noriega is about to take on her largest project to date at Bal Harbour Shops. HIT THE SLOPES We’ve rounded up five classic ski destinations that have something new to offer this season. THE ESCAPE ARTIST A new book celebrates Gray Malin’s otherworldly pursuits.
AND THEN THERE WAS LIGHT Sixty years in the making, legendary French candlemaker Diptyque forges ahead with an
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expansive new line of home goods and limited-edition scents, launched just in time to round out its diamond anniversary. YOU’RE NOT ALONE The Clubhouse app may or may not help you find like-minded people, but at least it’s entertaining.
BEAUTY AND THE LURE Writer Alison Hawthorne Deming takes on the disappearance of craftsmanship in the modern world.
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A born and raised New Yorker who transplanted to Los Angeles, Ryan Pfluger, who shot this issue' s cover, is constantly exploring what portraiture means in our culture. His photographs deal with the subtlety of body posture, the gaze and how sexuality influences image making. Most importantly, he allows his subjects to feel present and seen. Over the past year, Pfluger has been thoughtfully cultivating a long-form personal project photographing interracial queer couples and friendships. The ongoing body of work ª Holding Spaceº explores the complexity and nuance of intersectionality.
VANESSA GRANDA
Vanessa Granda is a Cuban-Lebanese photographer who grew up in Miami and now lives in New York City. For her first contribution to Bal Harbour, she worked with stylist Dominick Barcelona to capture looks from the fall collections in ª The Space Between.º
ª We wanted to play with the concept of soft and hard, feminine and masculine and the space between the two. We explored this in the set designÐ stretching really soft fabric to create tensionÐ and in the looks: soft knitwear against an architectural, wooden chair or a flowy skirt with a structured blazer. One simply does not exist without the other.º
SELF-PORTRAITS COURTESY OF VANESSA GRANDA, RYAN PFLUGER
Contributor
RYAN PFLUGER
Reyna Noriega is a Miami-based Afro-Latina visual artist, author and educator who works across a variety of mediums, from graphic design, to painting, digital illustration and photography. Through simplified shapes and forms in bold and vibrant shades, she portrays figures of people of color, architectural spaces and landscapes. Her clients include The New Yorker, Apple, Google and The New York Times. She was commissioned to capture the latest couture collections for this issue, as well as a limited edition cover. A new large-scale work by Noriega will be installed at Bal Harbour Shops later this year.
SONIA YOUNG
Born and raised in the Bay Area, celebrity stylist Sonia Young is recognized for her fresh perspective and authenticity. Young is inspired by using fashion as a vehicle for finding common ground and bringing communities together. Her work has appeared on the covers of Vogue, Marie Claire and Men’s Health, as well as on her clients for countless red carpet appearances. In her first assignment for Bal Harbour, Young styled cover model Sanne Vloet, who was photographed by Ryan Pfluger for the fashion editorial, “Dream State.”
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STEWART SHINING Stewart Shining’s portraits and fashion photographs have appeared on scores of covers, from Rolling Stone to Vogue, as well as this publication, and have been published in numerous books. This fall he’s releasing his first book, Alessandra, a monograph on supermodel Alessandra Ambrosio, whom he’s been friends with for the last 20 years since first capturing her likeness for the cover of Wallpaper magazine when she was 17 years old. “She was like this little, waifish diamond in the rough but I saw something in her eyes,” says Shining in our interview on page 152. “Those eyes just draw you in.”
PHOTO BY PHILIP ALEXANDER NARVAEZ (SHINING PHOTO BY VALENTINA PEREZ (NORIEGA), JOHN & JOSEPH (YOUNG)
Contributor
REYNA NORIEGA
BAL HARBOUR: 9700 COLLINS AVENUE 305.867.1215 VALENTINO.COM
Zendaya by David Sims at the Palace Theater in Los Angeles, 17th April 2021
Contributor
SASHA FRERE-JONES Sasha Frere-Jones is a writer and musician from New York. “This assignment was pure pleasure. I’ve been hearing about OMA for years and then, very much out of the blue, Bal Harbour asked me to do the piece just days after I’d finally Googled Jonathan. I thought it was some kind of data scraping hoax! But it was real. So many people in audio talk a big game and then trot out the same boxes doing the same thing—Jonathan was not, and is not, like that.”
ISABEL SLONE
Isabel Slone is a fashion and lifestyle journalist from Toronto who writes about the intersection of fashion and culture. She is a regular contributor to The New York Times Styles section and her byline has appeared in ELLE, the Globe and Mail, Playboy and more. She has written about everything from the “cottagecore” aesthetic to the strawberry dress that took over TikTok. For her first assignment for Bal Harbour, Slone interviewed author Alison Hawthorne Deming about her new book, A Woven World. “As soon as I opened A Woven World, which examines fashion and crafts in an industrialized world, I knew I had to interview the author about this unique and magnificent book.”
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KRISTEN BATEMAN Kristen Bateman is a New York-based writer and creative consultant. She contributes to Vogue, The New York Times, Town & Country, Dazed and many more, and works with fashion and beauty brands on creative direction, content and more. “I’m really excited about dressing up and wearing pieces that feel intrinsically ‘me’ this fall. I loved writing about the proliferation of personal style during these times and was so happy to hear that others have been getting in touch with their own sense of style, too.”
RACHEL LEWINTER Rachel LeWinter was born and raised in Miami, but currently calls New York City home. She served as Fashion Director at Us Weekly, and has a photographic memory for red carpet looks and celebrity style. She’s worked in magazines for more than a decade, styling cover shoots, writing editorials and finding the best products you never knew you needed. Covering the fall trends has inspired her to up the ante on her everyday ensembles, as seen in her story “Operation Opulence.” “There’s never been a better time to have fun getting dressed up. You’d be surprised how a little bling (or a pop of neon) can generate joy.”
WELCOME NOTE I love that Bal Harbour is a noun and an adjective. “This is so Bal Harbour” is an expression that has become a shorthand for devoted fans of the Shops. For more than half a century Bal Harbour Shops has wooed patrons with its high-end retail and vibrant dining scene, nestled in the soothing atmosphere of tropical gardens and koi ponds. It’s a microcosm where fashion and nature convene. Our intention with each issue of Bal Harbour Magazine—and on our social and web platforms—is to provide you with the same emotional connection you feel when you’re strolling our sun-dappled corridors. With our global reach to more than 140 countries, we like to imagine the many ways “This is so Bal Harbour” is being shared. In this issue, and throughout the fall season, we will continue Bal Harbour Shops’ legacy of supporting artists that work in fashion, and those who celebrate it. This summer we launched our second annual Creative Challenge, calling on illustrators to get inspired by Bal Harbour Shops. Amongst the hundreds of talented submissions we received, our winner, Amalia Restrepo, stood out for her singular style that captured the essence of the Shops. One of the competition’s judges (and native Miamian) Reyna Noriega, was commissioned for this issue’s special edition cover, and later this year will debut her largest project to date on location at Bal Harbour Shops. The fall celebration of artists and artisanry will culminate in a new four-day event, Bespoke Bal Harbour, beginning on October 21. Held across the Shops, Bespoke Bal Harbour honors the art of craftsmanship and celebrates creatives whose extraordinary techniques elevate luxury. And in time for Art Week in Miami, we will debut the Bal Harbour Shops Emerging Fashion Photography Award, which celebrates a fashion photographer under 30. Let’s stay connected; tag your “This is so Bal Harbour” experience with us @balharbourshops.
Carolyn Travis Publisher, Bal Harbour Magazine
Publisher, Carolyn Travis FALL/WINTER 2021
FALL/WINTER 2021
Editor, Cheryl Stephenson
Director of Arts & Culture, Sarah G. Harrelson Executive Editor, Tali Minor Art Director, Katherine Jordan Associate Art Director, Katie Brown Editorial Assistant, Rebecca Aaron Contributing Writers Kristen Bateman, Samantha Brooks, Sasha Frere-Jones, Nick Remsen, Isabel Slone, Mackenzie Wagoner Contributing Photographers Francesca Beltran, Matthew Cowan, Vanessa Granda, Ryan Pfluger Copy Editors, Isabel Flower, Sara Roffino Pre-Press/Print Production, Pete Jacaty
Sanne Vloet
Model Sanne Vloet, photographed by Ryan Pfluger and styled by Sonia Young exclusively for Bal Harbour Magazine, wears a Valentino gown and Tiffany & Co. HardWear earrings. Hair by Veronica Nunez, makeup by Omayma Ramzy.
A limited edition cover by Reyna Noriega, featuring an original illustration, Paloma in Couture, that was commissioned exclusively for Bal Harbour Magazine.
Director of Marketing & Events, Gotmar Giron Director of Brand Media & Content, Shana Kaufman Social Media Editor, Samantha Brooks Social Media & Marketing Manager, Ashley Knott Accounts Receivable Manager, Johnny Aguilar Whitman Family Development/Bal Harbour Shops Operating Committee President & Chief Executive Officer, Matthew Whitman Lazenby Marketer General, Carolyn Travis Financier General, Benjamin Elias Collaborative Innovator General, Stephanie Sayfie Aagaard Lessor General, Courtney Lord Developer General, Nik Massey General Manager & Operator General, Gary Karlson Construction General, Mark Bedell General Partner of Whitman Family Development, Randall Whitman
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Bal Harbour Shops 9700 Collins Avenue Bal Harbour, FL 33154 305.866.0311 balharbourshops.com
Bal Harbour Shops 305-868-4344
Matter of Style IMAGE COURTESY OF THE METROPOLITAN MUSEUM OF ART, PHOTO BY CHRISTINA FRAGKOU.
Red, White & Blue The Costume Institute
turns its attention to American fashion with a two-part exhibition, beginning this fall with ª In America: A Lexicon of Fashion,º featuring roughly 100 looks that define style in the United States. Part two, ª In America: An Anthology of Fashion,º opens next May showcasing garments spanning from the 18th century to present day.
BAL HARBOUR NEWS & BEYOND
Amongst the designs featured in the exhibition is Ensemble, Christopher John Rogers, Fall 2020-21
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Bottega Veneta creative director Daniel Lee has created hit after hit since joining the house in 2018. His latest masterpiece, feather-embroidered high-waisted jeans, are proof that the English designer can do no wrong.
Images from Safari Style, available at Books & Books, Bal Harbour: The Farmstead lodge at Royal Malewane in South Africa; right, Singita Mara River Camp in Tanzania.
Safari Style Melissa Biggs Bradley is a travel industry legend. The founder of Indagare, one of the fi rst membership-based luxury travel companies, has just published her fi rst book, Safari Style: Exceptional African Lodges and Camps (Vendome), with photography by Guido Taroni capturing the décor of Africa' s foremost luxury and eco-safari lodges. We caught up with Biggs Bradley for a preview. You’ve shifted the landscape of luxury travel through the founding of Indagare. What do you consider one of your greatest achievements in the field? We have always believed that travel can and should be a positive force in people’s lives. As we help our members realize their travel visions, we also need to be conscious of how we impact the places we visit and become ambassadors for their cultures, communities and environments. Indagare’s tagline is “How You Travel Matters.”
With the extensive travel miles you have under your belt and stories that span the globe, why did you decide to focus your attention on this region? I fell in love with Africa when I went on my first safari at age 12. Over my 25-plus years covering luxury travel, I have been able to witness an incredible evolution in safari experiences. I wanted to celebrate that, but also the fact that safari tourism is an amazing example of how tourism can be a powerful tool in conservation and community empowerment.
ROCK ON
Look 17 from Bottega Veneta’s Wardobe 02 collection.
What's your outlook on the future of travel? I’m an optimist by nature and despite the ravages that Covid has wrought on many communities that count on tourism, I hope this period will foster a less consumptive and more considered approach to travel. I believe we will see individuals take fewer, longer, more immersive trips that are undertaken with greater consideration of their impact. What are some of your personal travel essentials? Great sun protection like Crème de la Mer’s tinted foundation; a shawl for the plane; comfortable but elegant shoes (I love Tod’s); a versatile crossbody bag (I love the Hermès Jypsière) and immune boosters like Vitamin C, zinc and magnesium.
Valentino' s Rockstud Alcove bag, with its distinct not too ladylike style, has fast become an ª Itº fall accessory. The extraordinary Italian artisanship behind its creation is worthy of the spotlight, too, which it duly receives in ª Mastery Tales,º a series of short films streaming on the brand' s YouTube channel.
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PHOTOS BY GUIDO TARONI, COURTESY VENDOME (SAFARI STYLE); COURTESY BOTTEGA VENETA, VALENTINO
In Full Plume
BAL HARBOUR SHOPS
Who among us hasn’t looked around the dinner table and wondered, “how are we related?” Photographer Gillian Laub takes that existential question on a journey of photographic exploration in her new book, Family Matters. Here, Laub peels back a few layers for Bal Harbour. —Tali Minor Photography as therapy is how one might interpret your process of creating Family Matters. Would you agree? The process of making this work was absolutely a form of therapy. That’s one aspect of the work. It forced me to look inward in ways that were
very uncomfortable and unsettling. I think when we go to those difficult places and face them head on, that is where real growth can happen. The camera and writing has always been how I process, digest and reflect. The tension between insider and outsider, belonging and estranged is so powerful in your work. Do you still find yourself wrestling with those feelings? I was born wrestling with those feelings. They don’t exactly go away, but as I have gotten older and continue to find my place in the world, they have lessened. I am grateful that my family accepts and loves me for who I am with all our differences. In all of my work
I have always been attracted to certain tensions within people and culture. It’s how we navigate them that is the interesting and challenging part. When you set out on this process of discovery “to get closer to what was making me so uncomfortable,” as you put it, did you recognize that this project would resonate with your viewers in a way that could be equally as therapeutic for them? I first make my work because I feel utterly compelled to. The dream and hope is that it will resonate with others. Family is about love—with all its complicated dynamics—and that is something I think we can all connect with.
“Family Matters,” Laub’s solo exhibition, is on view through January 10, 2022 at New York’s International Center of Photography. Tiffany Knot bracelets in 18K yellow gold, with pavé diamonds and rose gold.
CHAIN REACTION Like any great luxury jewelry brand, Tiffany & Co. is known for iconic pieces (think Elsa Peretti Bone cuff) that come to define it. In the latest chapter of the house, a new icon debuts: Tiffany Knot. This striking lineup of bracelets, rings, necklaces, pendants and earrings is inspired by chain-link, an architectural symbol taken from the streets of New York. Crafted from 18K gold, and sometimes with a smattering of pavé diamonds, this is one knot you won' t want to unravel,
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PHOTOS FROM FAMILY MATTERS (APERTURE, 2021). © GILLIAN LAUB; COURTESY OF TIFFANY & CO. (KNOT)
We are Family
Gillian Laub, Wedding dress fitting, 2008; End of summer, 2008 and the book cover. All from Family Matters (Aperture, 2021).
Major Baggage
WHEN A LUGGAGE COLLECTION COMBINES THE HIGH-QUALITY OF TUMI WITH THE FASHION SENSIBILITY OF MISSONI, IT' S BOUND TO BE A HIT. THE COLLABORATION BETWEEN THE TWO RENOWNED BRANDS FEATURES BAGS, HARD CASES AND TRAVEL ACCESSORIES EMBLAZONED WITH MISSONI' S SIGNATURE ZIGZAG PRINT IN A RAINBOW OF BRIGHT HUES.
Contact Stephanie Sayfie Aagaard, access@balharbourshops.com for more information on ACCESS memberships.
CIAO BELLO
Neiman Marcus, circa 1971
Tod’s Gommino loafers, in progress.
Craftsmanship is an art that needs to be honored (and preserved), which is why Bal Harbour Shops is holding a four-day event in celebration of all things handmade. Bespoke Bal Harbour, October 21-24, is an opportunity to discover the artistry of tailors, engravers and other talented artisans in the bespoke luxury world. 68 BAL HARBOUR
PHOTOS COURTESY ISAIA, TUMI, TOD’S, NEIMAN MARCUS
50!
When Neiman Marcus opened its doors at Bal Harbour Shops on January 3, 1971, it was an invitation-only affair whose attendees included Estée Lauder and Miami Herald publisher John Knight among 1,400 other socialites and notables. The following day, more than 4,000 customers flooded the store, and legend has it that Stanley Marcus himself got behind a cash register to help with the overwhelming number of purchasesÐ including a pair of $8,000 mummy cases. Just a few weeks after opening, the thirdlevel storage area was turned into a retail floor, which today is home to Menswear collections and Café en 3. This month and through the holiday season, Neiman Marcus will be hosting a lineup of events to celebrate this milestone anniversary. Among the trunk shows, designer appearances and fashion presentations will be a special ACCESS Member fashion event on October 21, in tandem with Bespoke Bal Harbour.
Naples is famous for its skilled tailors, most of whom hail from a long lineage of artisans for decades or more. The prestigious Neopolitan men’s clothing house Isaia has now brought its craft to Bal Harbour Shops, with a brand new boutique. Tailor-made apparel is in the brand’s DNA, which has been run by the eponymous family since Enrico Isaia founded his atelier in Naples in the 1920s. Isaia may be a global name today, but the attention to details in the clothes it designs will always stay true to its roots.
Isaia’s Marechiaro double breasted suit
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#BHSEdit MEN' S EDITION
Gucci Tennis 1977 high top sneaker; 305.868.6504
5 6 4 7 10 9 8 11 Isaia leather briefcase; 305.619.1765
Tod’s felt and leather backpack; 305.867.9399
Missoni crew-neck sweater; 786.706.0955
Brunello Cucinelli suit carrier; 305.864.4833
Valentino Camou7 cardigan; 305.867.1215
DSQUARED2 Badge duffel bag; 305.866.7880
Prada money clip; 305.864.9111
Orlebar Brown Bulldog Paradise Falls swim shorts; 305.763.8453
Dolce & Gabbana Less Is Chic sunglasses; 305.866.0503
Salvatore Ferragamo Driver with Gancini ornament; 305.866.8166
Follow along @balharbourshops where we continue to call out our most coveted looks. 72 BAL HARBOUR
tods.com
@tods
Tod’s Bal Harbour 9700 Collins Avenue - 305.867.9399
The BOLDEN AGE JASON BOLDEN IS LAYING THE GROUNDWORK FOR STYLISTS TO BECOME STARS IN THEIR OWN RIGHT—AND SHIFTING THE HOLLYWOOD NARRATIVE WHILE HE’S AT IT. By Mackenzie Wagoner
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While walking down the street with Taraji P. Henson, Gabrielle Union, or Michael B. Jordan, a new, increasingly common occurrence is that their stylist, Jason Bolden, might be recognized first. “People are like, ‘Oh my god! Can I have a photo?’” says Bolden, laughing on a call from Los Angeles. “I’m like, what is going on? They’re the celebrity.” Shock at his own fame notwithstanding, Bolden is a star of his own making, emblematic of a new era of stylists who are stepping out from behind the dress to command bold-face billing. Where social media, reality television and backstage documentaries have incited a craving for intimacy with our idols, process content (think: Get Ready With Me videos) has become as exciting as the final product. In other words, behind the scenes has become the scene. And Bolden has seized the moment. His multi-hyphenate creative brand, JSN Studio offering personal styling, interior design and a line of sunglasses, is the center of a Netflix reality show, Styling Hollywood (both critically acclaimed and devoured by the masses). His follower counts on Instagram, TikTok and Twitter soar to dizzying heights. Earlier this year, People vied for and won exclusive rights to print the first photos of his infant son, Arrow Fox (a boy audiences have followed the fretful planning for since Bolden’s husband and JSN Studio co-owner Adair Curtis first broached the subject of growing their family on air in 2019). The appeal is easy. Bolden is an arresting hero—warm, charming, quick witted, handsome, and as preternaturally smooth skinned as the celebrity clients he offers proximity to. But it’s his empathetic nature as a partner, business owner, and friend that sets him a cut above the rest. Effortlessly grasping the zeitgeist, Bolden is able to see a dress on a runway and project it not only onto a client, but into a history-
“I’m interested in men and women who are SHIFTING THE PLANET. I love, being in the space where I can be a PART OF A TRANSITION and help create a new narrative.” —JASON BOLDEN
making, world-shifting moment. See Serena Williams in high-octane Versace and sneakers as the co-chair of the 2019 Met Gala; Youth Poet Laureate Amanda Gorman on the cover of Time magazine enveloped in her favorite color, canary yellow; the trademark greys that were procured for painter Amy Sherald, in the form of a fringed crop top and skirt for the unprecedented unveiling of her grisaille portrait of former First Lady Michelle Obama at the National Portrait Gallery. “It’s more than a beautiful dress,” says Bolden, describing his process. “It’s about listening. What happens a lot is that stylists push an idea of what we want for someone, but we miss their words and feelings. Everybody wants to be heard and be seen.” On any size screen, you can watch Bolden’s friends and clients unfold like paper napkins in his presence and bloom when in his clothes. In one episode of Styling Hollywood, Henson paces nervously around her hotel room before a red carpet, then honies when she steps into a fantastically embroidered Giambattista Valli floral mini dress with a full train. “She loves to play with a skirt,” Bolden asides to himself in an earlier episode. In another, Sabrina Carpenter’s steely gaze softens to childlike wonder when he translates her request for “Girl Boss” into a sharp-shouldered Tom Ford pinstripe suit, no shirt necessary. Of course, it helps that Bolden’s clients are people worth listening to. They are cultural trailblazers including groundbreaking actresses (Zazie Beets, Yara Shahidi), musicians (Alicia Keys), artists (Sherald), athletes (Williams) writers (Gorman), and directors (Janet Mock, Mindy Kaling), all of whom continue to command more seats at more tables. “I’m interested in men and women who are shifting the planet,” he says of his roster. “I love being in the space where I
can be a part of a transition and help create a new narrative.” One he’s personally pushing is “Black Girl Magic,” something of a catch phrase he utters when one of his powerful clients happily shines in the spotlight, her megawattage growing with every camera lens trained on her and every Best Dressed list she tops. “Cynthia [Erivo] keeps popping up for me,” Bolden says when asked for an example. He recalls the 2020 Oscars, when she was first nominated, not once, but twice for Harriet in the categories of best leading actress and best song. She dreamed of attending in Versace. Bolden clinched the deal, delivering a white ball gown finished with a swirling star-studded bodice that had the effect of a fairy godmother-crafted transformation caught in motion. Donatella Versace saw personally to a fitting. “When Cynthia saw her, she began to weep,” says Bolden, “That’s what keeps me here. I get to be a part of supporting someone’s dream coming true.” Next stop the Met Gala, for which he will be dressing 15 clients, four of whom will be attending for the first time. He’s coy about who will be wearing what, but offers, “I love everything Pierpaolo is doing for Valentino, what Daniel is doing for Bottega and Laura and Fernando with Oscar de la Renta—there’s something really special about that. It’s an awakening of overlooked talent to have opportunity in fashion.” Between fittings with Keys, Erivo and Jordan, Bolden’s plate fills with putting the finishing touches on Dwyane Wade and Union’s LA home, and settling into his and Curtis’s own new residence, which includes a nursery for Arrow. To his surprise, Arrow is starting to gain his own flock of fans. “It’s the weirdest thing.” He’s a master at making a star.
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What Does American Fashion Mean Today?
A For Schiaparelli’s couture show, creative director Daniel Roseberry scoured the Paris markets for vintage Levi’s, which he reconstructed to create Baroque-anddenim looks.
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merican fashion has a long history that has shaped its current expression. If Italians are known for eclectic taste, Parisians for simplistic chic, one could argue that American fashion has been uniquely shaped by a diverse collection of voices that represent far more than one singular aesthetic or viewpoint. “American style is no longer one thing,” echoes Valerie Steele, fashion historian and director of The Museum at the Fashion Institute of Technology. “We used to always think about American fashion as being like sportswear and separates, for example. It was much more casual than formal French fashion—but then and certainly now, it’s much more than just that. You have street style, avant-garde fashion—you have designer ready-to-wear that is on par with its European counterparts.” Designers such as Christopher John Rogers, Pyer Moss and Telfar Clemens, for example, have come to define a new generation of American fashion that speaks volumes about inclusion. “I think that for all the structural racism that still exists in the United States, there’s much more diversity in American fashion than there tends to be in European fashion,” adds Steele. Though heritage designers such as Ralph Lauren, Donna Karan, Michael Kors, Marc Jacobs and more have set the aesthetic for American style, the definition of American fashion as we know it today was formed in the 1970s. “The seventies is when you really start to see the industry becoming more diverse—you see lots of Black and Latino designers, and more recently, more Asian-American designers,” explains Steele. Still, one thing that rings true about American fashion is the importance of certain legacy materials and motifs. Denim, for example, has penetrated the highest echelons of fashion. For Fall 2021, the material was reinterpreted by Chanel, and French heritage brand Schiaparelli’s creative director Daniel Roseberry, who also happens to be American, toyed with Levi’s, gold embroidery and larger-than-life jewelry sewn onto fabric for his couture collection. The humble t-shirt, too, has become a staple of the biggest fashion brands, like Gucci and Saint Laurent, which showed light wash jeans alongside little leather shorts and fur-cuffed sweaters. Balenciaga, too, has perhaps made American informality one one of its biggest references, with a constant slew of jeans, sweatshirts and t-shirts. If there’s one thing that Americans did invent, it’s casual dressing. With the Metropolitan Museum of Art opening its two-part exhibition on American fashion this fall and the biggest New York Fashion Week in years, it seems like the sartorial scale is tipping toward this side of the Atlantic—even if we need our European counterparts to tell us so.
PHOTO BY DANIEL ROSEBERRY, COURTESY SCHIAPARELLI
By Kristen Bateman
ICONS WEARING ICONS
Bal Harbour Shops 305.864.3173
Laperla.com
The Return
of PERSONAL
STYLE
THE STATEMENT SEASON IS BACK, AND THIS TIME IT’S ALL ABOUT WHAT YOU WANT TO SAY.
IMAGES COURTESY OF MARNI, PRADA
By Kristen Bateman
F
all 2021 may have been the least cohesive fashion season ever as far as trends are concerned, but it makes sense. This year has obliterated short-lived trends and prioritized personal style, as many traded office jobs for working at home and found themselves dressing more expressively than ever before. Think about it this way: if sweatpants were the fashion hallmark of 2020, this year’s latest pièce de résistance is more of a mindset—wear what you want, how you want. Gone are the rules that once defined dressing up and here, now, is a way of selfstyling that puts the wearer first. It’s about staying true to your own personality— layering the unexpected and claiming a new freedom when it comes to accessories and shoes. Look at Rihanna wearing vintage Tom Ford-era Gucci jeans with an over-the-top faux fur hat, or Dua Lipa and Kylie Jenner trading out mainstream basics like leggings and tees for emerging labels like ERL and Chet Lo. When it all comes down to it, the eclecticism that’s bringing forward this newfound sense of personal style goes back to the catwalk. The runway spoke volumes with Prada and Miu Miu specifically showing a mixed-up aesthetic in which each look seemed to be wholly individualistic, suiting distinct personal style archetypes rather than one cohesive approach. Prada mingled prints in an artistic way that seemed to be a backlash against anything plain and minimal. Miu Miu’s art of layering piled together textures from crochet to puffer. Balenciaga, too, focused on personal expression rather than one aesthetic, and seemed to keep dressing for dressing up’s sake in mind. Given that most designers were creating the Fall 2021 collections while still in lockdown, it makes sense that many of them were thinking about what we’d all be wearing once we reemerged into a world with less restrictions. For most, that meant expressive, liberating clothes. Francesco Rizzo of Marni, for instance, took inspiration from craft and all things handmade, in response to the digital overload of the past year and a half. “It’s about narrowing things down and not wasting time and not making bullshit clothes,” he says. “It’s about being more focused.” And speaking of digital influence, many are pushing back against the blanketing of trends that social media has been responsible for perpetuating. “Social media changed the way people dress,” says Yu Masui, a street-style favorite known for his outlandish looks. “More and more people style themselves from trendy ideas seen on TikTok, or via fashion influencers. However, this ended up making people dress the same—safe. That’s why I feel an individualistic style, acutely creating one’s own world without copy and paste, is really valuable for our time.” In other words, there’s never been a better time to push back against the norm and wear something different.
Top, a look from Marni’s Fall collection, which took inspiration from craft and all things handmade; at left, there was nothing minimal about Prada’s Fall collection, as evidenced by this outsized coat.
The eclecticism that’s bringing forward a newfound sense of personal style goes back to the runway. And t his year’s latest pièce de résistance is more of a mindset—wear what you want, how you want.
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ETRO
VERSACE
DOLCE & GABBANA
GUCCI
CHANEL
PRADA
WE’RE NORMALLY NOT ONES TO MAKE A SCENE, BUT THIS SEASON WE’RE BRINGING ON THE DRAMA. By Rachel LeWinter
F
ollowing a trying year, self-imposed hibernations have heightened our need for self expression. The sartorial solution? It’s time to officially retire your sweats and embrace the delight of getting dressed up again. Get ready for a re-emergence of over-the-top looks featuring sequins, feathers and mesmerizing metallics. “After a year of pent-up creativity and such a challenging time, both designers and brands are excited to bring an explosion of beauty and joy into the world,” says stylist Micaela Erlanger, who works with stars like Lupita Nyong’o and Meryl Streep. “People are going to want to go all out when getting dressed.” From New York to Paris, the Fall 2021 runways were packed with pumped-up ensembles that exude fantasy and fun. Design duo Miuccia Prada and Raf Simons were inspired by the idea of change and transformation as evidenced by Prada’s exuberant collection that perfectly fused
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elegance and practicality. Eye-catching coats reigned supreme: Tailored jackets covered in colorful sequins; reversible wraps—paillettes on one side, faux-fur on the other; plus toppers in electric hues. Alessandro Michele celebrated Gucci’s 100th anniversary with a 15-minute film showcasing a whopping 94 looks. Models rocked exaggerated threads accented with voluminous feathers, lingerie lace and crystal-adorned logos. Velvet power suits, embroidered dresses and embellished outerwear were paired with avant-garde addons like bedazzled minaudières, high-shine body chains and leather harnesses. At Valentino, Pierpaolo Piccioli, opted for mostly daywear separates that were equally as dazzling as any glamorous frock. Oversized sequined sweaters and fringe-flecked knits were paired with flirty mini skirts, while golden blazers worn over matching metallic vests were both sensible and captivating. On the other end of the spectrum, Dolce
& Gabbana capitalized on color with a kaleidoscopic assortment brimming with high-tech materials in a rainbow of striking hues. Space-age silhouettes in silvers, gold and fluorescent shades were dominant standouts, along with pearl dresses and gemencrusted bustiers. The catwalks were chock full of inspiring outfits, many incorporating pieces you may already have in your closet. To wit, Dsquared2 paired a Fair Isle sweater with a sequin midi skirt, Rosetta Getty showed a metallic slip dress atop a black turtleneck and Stella McCartney put a glittering top over flared trousers. If you’re still unsure about integrating highwattage looks, Erlanger advises to consider your personal style. “I plan to go maximalist, but you don’t have to go head-to-toe disco.” Whether you go all out or just add a new glimmering accessory, one thing is clear: In a post-pandemic world, the future of fashion looks bright.
PHOTO BY GREG AVENEL (GUCCI); COURTESY ETRO, VERSACE, DOLCE & GABBANA, CHANEL
Operation Opulence
Bal Harbour Shops · 9700 Collins Ave , Miami Beach · 305-602-9663 · @lezoobalharbour
Poolside at the Faena
IMAGES COURTESY MAKOTO, VALENTINO, ZIMMERMANN, DE BEERS, FAENA, DR BARBARA STURM, JOHANNA ORTIZ
How would you describe your sense of style? No matter where I go, whether it’s the Faena for dinner with my girlfriends or The Surf Club for a romantic date with my husband, I always aim to dress for the occasion. And whether I go more bohemian glam or classic and elegant, I always make a point to embrace my femininity.
Is there a piece of jewelry you’re coveting, or a recent addition you’re loving? I love my De Beers studs. They’re truly timeless, and just subtle enough to wear all day long no matter what I’m doing (or wearing).
Lili Buffett
PORTR A IT BY BA ILEY TEM PLETON What is your must-have accessory for Fall? Bottega Veneta’s timeless (and ultra-soft) Pouch is a must-have because it fits exactly everything I need for a day and night on the go. Who are some of your favorite designers? Zimmermann; they always have something for Miami’s colorful dress code. Carolina Herrera’s creative director Wes Gordon is so talented. I love his modern, updated take on such a renowned name in American fashion. His new sequined pieces are at the top of my list.
What does a typical day look like for you? First I head to the beach to catch the sunrise (my morning ritual!), followed by yoga and catching up on the news with coffee. Then, I focus on work and my to-do list, before spending one-on-one time with my son. We love doing outdoor activities together, like playing tennis or jumping in the pool. On a day off, I head to Bal Harbour for lunch at Makoto and a trip to Saks to see what’s new from my favorite designers. And finally, home to get ready for date night with my husband!
A look from Valentino’s Fall collection.
A look from Johanna Ortiz’s Fall collection.
PHILANTHROPIST With a vibrant sense of style, a deep appreciation for the beach and a desire to share all that the city has to offer, philanthropist Lili Buffett is a true Miami girl. She grew up in the area before heading to New York for college at Columbia University, where she studied economics and philosophy. While there she developed an interest in the alleviation of poverty and gender inequality, which has informed her work with charities like the Captain Planet Foundation and Kids Operating Room. “Access to proper healthcare in every corner of the world is so important to me, and I’m really proud of what’s being done by KidsOR—a charity known for their work in Africa, and as of late, an expansion into Latin America,” she says. “Through a partnership with Smile Train, they’re making pediatric surgery centers accessible to areas lacking these desperately-needed facilities.” —Cait Munro
What are your must-have beauty products? I’m a beauty junkie! Dr. Barbara Sturm and her line of clean beauty products are an essential for the Miami heat, and ones you’ll always feel good about putting on. I love the Glow Drops and Sun Drops— they’re both super light, and the latter is packed with SPF.
Which collections are you looking forward to seeing this Fall? Valentino! Everything he creates is exquisite, but the ladylike-meets-punk-rock vibe of this collection has me so excited for the next fashion season—and to get dressed up again. Zimmermann Concert Disc mini-dress
What is your go-to order at your favorite Bal Harbour Shops restaurant? I love Makoto. You can’t visit without ordering the Hamachi Ponzu and Spicy Tuna Crispy Rice; it’s the perfect lunch before a little retail therapy.
Valentino Stud Sign bag
Makoto’s Hamachi crudo
How do you describe your Miami style? When it comes to what to wear, our vibrant city is ideal for eye-catching prints and bold colors. I look to Colombian designers like Johanna Ortiz, whose printed cotton dresses are perfect for warm nights, and Agua by Agua Bendita, whose designs work perfectly from poolside to tableside. BAL HARBOUR 83
Lafayette 148’s Hayward shirt
Alexander McQueen’s Leaf crepe jacket
How would you describe your own aesthetic? I lean towards preppy classics, like a great blazer, the perfect white shirt, really well fitting jeans, ballet flats and great little sneakers. You won’t really find me following trends. But when it’s time to get dressed up, you better believe I turn it out! I love evening wear—for me, it’s a really fun expression and I take a lot of joy in it.
Micaela Erlanger CELEBRITY STYLIST Micaela Erlanger may be Miami’s chicest new part-time resident. A top celebrity stylist who has dressed the likes of Lupita Nyong’o, Diane Kruger and Meryl Streep, Erlanger is preparing to expand her reach after recently launching a private client division. “I’m excited to bring the same access and exclusive experience I provide to my celebrity clients to a very select, private audience,” she says. Erlanger has also collaborated with De Beers on a collection of engagement rings perfect for discerning brides wary of mass market offerings. She’s also been busy prepping a handful of stars for the Costume Institute’s two-part celebration of American fashion. “I’m really pumped about what I have up my sleeve,” she says. “It’s just such an energizing time of year.”—CM
PORTR A IT BY CH RISTI A N OTH Did you always know you wanted to be a stylist? I’ve always loved fashion. Some of my earliest childhood memories are staging photo shoots with my sister. It wasn’t until college, when I started interning at magazines, that I realized this could be my career. I ended up landing an internship with a top celebrity stylist. I worked with her for about six years before going out on my own and finding my own celebrity clientele. 84 BAL HARBOUR
What do you love about living in Miami? How has your wardrobe changed since moving here? I love the attitude and the pace and how vibrant it is. And I have definitely done some damage in the shopping department, because I had to have a wardrobe that reflected my new environment. I have more swimsuits than I know what to do with now. I love that people really get dressed up here—more is definitely more!
Actress Lupita Nyong’o, styled by Erlanger in a Gucci gown for the 2015 Cannes Film Festival.
A look from Valentino’s Act collection
Versace’s Greca one-piece swimsuit
Are there particular brands you gravitate towards when shopping for yourself? I love Miu Miu, Alexander McQueen, Valentino and Ralph Lauren. I seek out well-made pieces, and I also really believe in an edit. My wardrobe is made up of pieces that I actually get a lot of wear out of.
What advice do you have for people trying to hone in on their sense of style? Look for visual references that help articulate the way you might want to look or feel. I often share a lot of reference pictures with my clients to help them nail that look they’re after. Which fall trends are you excited about? Big statement bags are definitely back this season, and I love that lower heels are still here. Now that the world is opening up again, I think we’re seeing things that are a lot more elevated— there’s this return Valentino 03 to glamour. Rose Edition Atelier bag
IMAGES COURTESY VALENTINO, VERSACE, AQUAZZURA, LAFAYETTE 148, ALEXANDER MCQUEEN AND ERLANGER
Aquazzura’s Rumeur ballet fl ats
PINKO Bal Harbour 9700 Collins Avenue Suite 269 Bal Harbour, FL 33134 (P) 786.577.7330
What’s your favorite fashion trend right now? Platform pumps and booties worn with bootcut high-rise jeans. Essentially the same uniform I wore throughout middle school and high school. There’s nothing like the fashion circle of life to make you feel nostalgically younger again. Bonus points if the originals still fit.
What is your favorite Bal Harbour Shops restaurant? Le Zoo is by far my favorite. Although the vibe is meant to invoke the French elegance of Paris and the tropical sophistication of St. Tropez, I think the vibe embodies what’s at the heart of Miami as well—a place where city meets sea.
Lafayette 148’s Wyckoff cropped wide-leg jean
Clé de Peau eye cream
Giuseppe Zanotti Laila platform
Elizabeth Kurpis L AW Y E R Elizabeth Kurpis has one impressive resume. NYC' s foremost fashion lawyer is also a brand consultant, contributing editor at Quest magazine, interior design specialist and best dressed list regular, as well as a mother of two. When she' s not busy hustling in the city, you can fi nd her soaking up the more mellow vibes at one of her family' s properties in Miami Beach. ª I tend to favor the one in SoFi, near South Pointe,º she explains. ª It' s much quieter than further uptownÐ with the exception of Saturday nights at Prime 112Ð and has a number of parks close by to take my children to play and buy treats from the ice cream truck.º Ð CM
P O R T R A I T BY A N A S TA S I YA R A M S H A What do you love most about Miami? It’s the best of both worlds and has something for everyone. You have a true city on one side and all that that offers, set against the backdrop of the most calming and beautiful turquoise waters. There’s nowhere else like it in America. How would you describe your sense of style? A mostly traditional uptown girl, with a pinch of 86 BAL HARBOUR
What are your must-have beauty products? A good filter to start, but absent that, I’m an Eve Lom devotee. I follow up their oil-based scrub with Crème de la Mer to lock in moisture and Clé de Peau eye cream to prevent excess aging. These products are all oldies, but certainly goodies.
Available at Books & Books, Bal Harbour
Dress by Missoni
What’s the last great book you’ve read? I’ve probably read about 40 books since last March, and the two that stood out most were The Invisible Life of Addie LaRue and The Midnight Library. Both heroines faced that age-old conundrum of whether the grass really is greener on the other side of the fence. Although their outcomes are very different, each served to ultimately remind me of the importance of self-reliance.
Stella McCartney Elyse Glitter platforms
irreverence and a dash of downtown sex appeal. Basically, were Grace Kelly and Brigitte Bardot have a baby, you would get me. How would you describe your Miami style? When in Miami I lean towards more colorful, vintage-inspired looks from brands like Missoni and Emilio Pucci. You can usually find me in flowy day-to-evening midi-dresses in light cotton or silk to combat the heat and humidity.
What is your must-have accessory for Fall? Platforms, platforms and more platforms, and lifted loafers for those days when you just can’t deal with the heel. Trust when I say there’s no better view than when put atop a pedestal.
IMAGES COURTESY OF MISSONI, STELLA MCCARTNEY, LE ZOO, GIUSEPPE ZANOTTI, CLÉ DE PEAU
The patio at Le Zoo, Bal Harbour and a classic bistro item: the oyster platter.
INTERMIX Bal Harbour Shops 9700 Collins Ave #257, Bal Harbour, FL 33154 (305) 993-1232
M U ST- H AVES Chanel leather bag; 305.868.0550
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Chain Reaction
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XXXX
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Get connected! Heavy-metal linked-up accents exude an edgy, rock ‘n’ roll vibe. BY RACHEL LEWINTER
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Gucci leather sandal; 305.868.6504
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BIG BANG UNICO
BOUTIQUE BAL HARBOUR Bal Harbour Shops • 9700 Collins Avenue Tel. 305 865 1855
Vibrantly-coloured and patented yellow ceramic case. In-house UNICO chronograph movement. Limited to 250 pieces.
M U ST- H AVES Golden Goose Superstar sneakers; 305.993.1232
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Warm and Fuzzy
Gucci elastic headband; 305.868.6504 Chanel shearling flap bag; 305.868.0550
These furry finds are so soft and huggable, you’ll never want to let them go. BY RACHEL LEWINTER
Chloé Wavy shearling slipper; 305.861.1909
Gianvito Rossi Husky bootie; 305.865.8330
Stella McCartney Falabella tote; 305.864.2218
Alexandre Birman shearling sandal; 203.278.6058 Valentino cashmere Roman Stud shoulder bag; 305.867.1215
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#AkrisFW21 a film by Anton Corbijn | www.akris.com | Bal Harbour Shops
M U ST- H AVES Dior Saddle belt bag; 305.865.1100
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Miu Miu croc-printed wallet; 305.993.2300 Alexandre Birman Clarita rain boot; 203.278.6058
Missoni crossbody bag; 786.706.0955
So Jaded
Green reigns supreme for fall with emerald accessories leading the way.
Akris micro messenger bag; 305.866.2299
BY RACHEL LEWINTER
Saint Laurent Tribute heel; 305.868.4424
Bulgari Serpenti Forever bracelet; 305.861.8898 92 BAL HARBOUR
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Brighter Days
Eye-catching highlighter hues and a flash of fluorescent amp up any ensemble. BY RACHEL LEWINTER
Stella McCartney Loop Square sneakers; 305.864.2218
Roger Vivier Belle Vivier pump; 305.868.4344
Chanel clutch with chain; 305.868.0550
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Isabel Marant’s timeless magnetism is found in louche hemlines with slouchy boots, oversized jackets, punchy printed pants and those unmistakable wedge sneakers.
ISABEL MARANT OPENS HER BAL HARBOUR BOUTIQUE WITH A FUTURE-FORWARD COLLECTION AND A REVIVED OUTLOOK ON WHERE THE WORLD IS GOING NEXT. By Mackenzie Wagoner
The Future is NOW Looks from the Fall 2021 collection, which reimagine 80s tropes for a distant decade.
leather dress that cinches and elongates the waist will be as head turning today as it will in a century. Each piece feels both familiar, yet with a sense of possibility—Marant’s precise prescription for the future. Here, the designer talks about where she hopes the world is heading next, and what we’ll be wearing when we get there. What does your dream future look like? We have reached a time when we need to rethink our lifestyles and consumer behaviors. The planet is screaming at us. Our future has to be reinvented! I love what I do. I’ve always loved it—but for sure I will not end my life in my company. I’ve been training my long-time team members, so that when the time comes, I will go and work on environmental endeavors, making sure that our earth is in a better state. What will you be wearing in this future? Past, present or future, I often wear the same outfit, like a uniform: grey jeans, a sweatshirt and a man’s jacket that’s a bit too big! When you work with clothes all the time, you need to feel a bit like a blank page. What are the fashion items (or trends) that you wouldn’t mind leaving in the past forever? I’m thinking of my wedge sneakers, when launched 10 years ago, after all the fame they had—and all the copies—I got disgusted by them. But, now I’ve relaunched a new version of them that are even chunkier! Our minds evolve with time. I have always designed clothes that are made to be worn and worn again, even if you leave it in your closet for a decade. It makes me happy to see women wearing my designs from 10 years ago.
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PORTRAIT BY ALASDAIR MCLELLAN; IMAGES COURTESY ISABEL MARANT
I
sabel Marant has always had her eye on the future. Though her self-titled line was only launched in 1995, it was developed for the long game, building into each season the kind of always-on icons that elicit joy—and telegraph effortless cool—with every decade they’re worn. If generations have been drawn to Dior for its New Look silhouette and to Chanel for its tweed suits, Marant’s timeless magnetism is found in louche hemlines with slouchy boots, oversized jackets, punchy printed pants and those unmistakable wedge sneakers. Now, Marant is bringing her foresight to Bal Harbour Shops. “Miami brings me joy and light!,” says the designer, citing the city’s indelible mix of color, architecture, people and culture as a touchpoint for many of her past collections. (Though, she coyly reveals, her forthcoming spring collection may have some more obvious ties: “It has some Miami vibes!”). When the space opens in the fall, Marant devotees will find the designer’s leitmotifs embedded within the architecture like Easter eggs. Here, a wall is carved in the geometric shape of her trademark 90-degree earrings. The ceiling’s cut-outs echo her dress patterns. “I like to play with the space as I would play with my own collections,” she muses. And on its racks will hang Marant’s future-forward Fall 2021 collection, which reimagines 80s tropes for a distant decade. Exaggerated shoulders and puff sleeves embolden prairie florals, a fire engine red
www.gianvitorossi.com Bal Harbour Shops – 9700 Collins Avenue #111
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Portrait Mode
IN A WORLD OF SELFIES, THE COLLAR NECKLACE TAKES ON A NEW SIGNIFICANCE AS THE ULTIMATE FACE FRAMER. THE BIGGER THE DIAMONDS, GEMS AND DESIGN MOTIFS, THE BETTER (AND THE MORE LIKES).
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BY SHANNON ADDUCCI
Bulgari Bulgari creative director Lucia Silvestri knows how to work with big, juicy gems—a talent she showcases often on social media, in behind-the-scenes videos that reveal how she carefully assembles her jewelry creations using colorful, eye-popping gemstones. It’s a specialty that the Italian brand put to even greater use in its new Magnifica collection, which Bulgari has dubbed its most precious high jewelry line ever created. For the Prodigious Color Necklace, Silvestri chose five oval-shaped colored gemstones to set into a rose gold collar: rubellite, topaz, citrine, amethyst and rose quartz. She then added 20 cabochon-cut tourmalines, 124 buff-top amethysts and 48 round brilliant-cut and pave-set diamonds to finish the necklace, a feat that took nearly 300 carats and more than 2,000 hours of master craftsmanship.
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Chopard The Swiss brand’s Red Carpet collection has always included gravity-defying gemstones and statement-making design motifs, many of which make their debut on the literal red carpet of the Cannes Film Festival when the collection is presented each year. But this time around, creative director Caroline Scheufele turned to her private life for inspiration; more specifically, her dog. Using her Cavalier King Charles spaniel, Byron, as a model, the designer created a vignette that included her pooch as well as the companions of friends, including a Newfoundland, an Afghan hound, a Weimaraner and a Chihuahua—done in 9,000 precious stones, which took nearly 1,200 hours of work to assemble—as the ultimate homage to man’s best friends.
Chandelier EARRINGS may have ruled the past decade, but these roaring twenties are shaping up to be all about the necklace. This time around, it’s a face-framing collar—and THE BIGGER THE DIAMONDS, emeralds or other baubles, the better. 100 BAL HARBOUR
fabianafilippi.com Bal Harbour Shops 9700 Collins Avenue, Unit 202 33154 Bal Harbour – FL T. + 1 305 864 4054
Graff Inspired by an ancient folk tale about a girl who created the stars, the UK brand created an entire high jewelry collection that interprets different myths about how the night sky was formed, using white diamonds for the stars and moon and fancy yellow diamonds for pieces that incorporate sun motifs. The statement necklace of the line uses nearly 40 carats of round and pear-shaped diamonds, accented with diamond pave work in white gold—1,887 stones in total—to create a truly celestial piece.
“Lately I’ve been inspired by layering a COLLAR necklace with a longer piece to add more drama to the neckline,” says stylist Jacqueline Zenere. “It can be a SIMPLE CHAIN or a larger jewel similar to the piece itself where it’s almost difficult to tell where one begins and the other ends.”
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Fowl Play HOW DID GOLDEN GOOSE’S “DIRTY” SNEAKERS—PRE-MADE SCUFFS, SCRAPES AND ALL—BECOME SO DAMN POPULAR? NICK REMSEN CATCHES UP WITH CEO SILVIO CAMPARA TO FIND OUT.
Every pair of the brand’s coveted sneakers is made by hand in Northern Italy.
N Skateboarder Cory Juneau was tapped to collaborate on a new sneaker as part of Golden Goose’s 20th anniversary celebration.
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ext time you’re at the airport, take a look at peoples’ feet. Within a few minutes, if not seconds, you’re more than likely to spot at least one traveler wearing a pair of Golden Goose sneakers. It’s a test I run every time I fly, which is about six times a month, and I haven’t ever gone through MIA or JFK or LAX without seeing the kicks. Not once. Golden Goose’s relative ubiquity is remarkable; each and every pair the label produces—recognizably decorated with outsized star cutouts, purposeful dirt scrapes and eccentric color combos—is made by hand in Northern Italy, ensuring that no two pairs are identical. That said, for as artisanal a product as they deliver, the company is massively scaled. Golden Goose sells its goods at more than 120 company-operated stores worldwide (Bal Harbour very much included), as well as various high-end retailers. This year marks Golden Goose’s 20th anniversary in business; the label’s freshman collection debuted for Spring 2001, after its founding by the Venetian designers Francesca Rinaldo and Alessandro Gallo. Throughout the year, the brand has activated a number of celebratory events, including a collaborative sneaker with the American skateboarder Cory Juneau (who won the bronze medal at the Tokyo Olympics this summer) and a traveling installation of a “Golden Bench” upon which messages of “love” could be written. Yet for all of the line’s popularity and, at this point, longevity, Golden Goose remains somewhat of an enigma; just how did predistressed “dirty” sneakers, which are sold in the $500 range and up, become so hotly in demand? Silvio Campara, Golden Goose’s CEO since 2018, says: “Really, it’s because we’ve always been consistent. I think this is the simple, super secret of Golden Goose’s success in America and beyond. We never dilute, and we never discount. We believe in sustaining the dream.” A collective design group comes up with the sneakers’ seasonal aesthetics, but they move at a measured pace; new shapes are not always introduced, nor are markedly different material constructs. Then, artisans craft each pair by hand, lending the shoes a built-in, familiar appeal even before the adornments and the abrasions are applied. Of their eclectic polychrome approach and textural juxtapositions, Campara says the brand’s original vision was that inspiration could be drawn from Venice, Italy to Venice, California, and all that rests in between. “Every single thing, every single idea,” he notes. “A beautiful fruit, someone skating on the street, a bookstore. This is where Golden Goose comes from. And, I have to say, at 20 years in, we don’t see ourselves as reaching an arrival point. Rather, it’s just the beginning.”
CALIBER RM 07-01
RICHARD MILLE BOUTIQUE BAL HARBOUR SHOPS, BAL HARBOUR (305) 866-6656
CALIBER RM 72-01
RICHARD MILLE BOUTIQUE BAL HARBOUR SHOPS, BAL HARBOUR (305) 866-6656
available at balmain bal harbour 9700 collins ave, bal harbour
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Red is going to look so good on you. Coming Fall 2021
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C R E ATIVE C H A L L E N G E
Artist Amalia Restrepo won this year’s Creative Challenge with an illustration capturing the essence of Bal Harbour Shops.
Open to Interpretation
WE ASKED YOU TO CREATE A NEW ILLUSTRATION INSPIRED BY BAL HARBOUR SHOPS. THE RESULTS WERE EXCEPTIONAL IN THEIR STYLE AND SCOPE. HERE ARE OUR TOP TEN FINALISTS, INCLUDING THIS YEAR’S CREATIVE CHALLENGE WINNER, AMALIA RESTREPO. 112 BAL HARBOUR
"Bal Harbour Shops is a magical place where fashion is the language, and authenticity is key." —Amalia Restrepo Daniela Catillo
Ive Dukie Sara Buitrago Bustamante
Charles Alexander XXX
Urechi Oguguo
Prisca Adynata
Talia Garcia
Monika Jones
Sebastian Marc Graham
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On Time
NICK REMSEN TAKES NOTES ON THIS YEAR' S MOST IMPRESSIVE NEW WATCHES. The luxury watch world has never been hotter. Retail stock is drought-level low, and resale prices are through the roof. Finding one' s dream timepiece can, as a result, feel like something of a mission. But watch obsessives know that hard work pays off, and, in 2021, nothing feels as good as this Holy Trinity of launches from Audemars Piguet, Richard Mille and Panerai. These watches are exceptionally rare, with hy per-
Limited to 106 pieces total, which is the same number of McLaren Speedtails that will be produced.
COURTESY OF RICHARD MILLE
The case alone contains 69 individual parts.
limited quantities designated for each, and they embody the vanguard of their namesakes' haute horlogerie prowesses. Whether engineering razor-precise automotive aesthetics or boldly updating classic nautical cues, these watchmakers have reached a new, collective zenith of technological and visual brilliance. As the say ing goes, time flies, and with these models, the limit is… well, sky high.
Richard Mille is often spotted on the wrists of A-listers such as Nicki Minaj, Pharrell Williams (who once had his very own collab with the company) and Formula 1 driver Charles Leclerc. McLaren’s swept logo is found on the watch’s wheels.
RICHARD MILLE RM 40-01 Automatic Tourbillon McLaren Speedtail
Les Breuleux, Switzerland-based Richard Mille has maintained a partnership with McLaren, the British automotive wunderkinds, for the past five years. Their longstanding collaboration has y ielded its fair share of marquee watches, yet none have been as daring and desirable as the RM 40-01. Inspired by McLaren' s Speedtail hy percar (the company' s fastest street-legal vehicle to date), this watch recalls the shape of a water drop, which is one of nature' s most aerody namic forms.
This watch’s casing took 2,800 hours to perfect over an 18-month time frame. To get it exactly right, particularly with the width differences between 12:00 and 6:00, five different prototypes were made.
Orange accents seen on parts and strap are the exact same tone as McLaren’s signature color.
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Audemars Piguet’s Royal Oak lineage is, arguably, among the most iconic in the luxury watch canon. Here, it gets an athletic, muscular addition. One of the most notable things about the Royal Oak Offshore Selfwinding Fly ing Tourbillon Chronograph, though, is that it retains its vintage diving helmet-inspired lines; the octagonal bezel, with its signature screws, makes the piece instantly identifiable despite having evolved significantly from worldfamous watch designer Gerald Genta’s 1970’s-era concept. But this watch is thoroughly of the moment: lean, mean, and a downright marvel of a machine.
Limited to 100 pieces total.
The dial’s curved sapphire crystal cover has been glareproofed.
COURTESY OF AUDEMARS PIGUET
AUDEMARS PIGUET
Royal Oak Offshore Selfwinding Fly ing Tourbillon Chronograph
526 individual parts are used in manufacturing this model.
Materials range from 18-carat white gold hands to satin-brushed and hand-polished titanium (some of which is treated with black physical vapor deposition coating) to interchangeable straps, with rubber, calfskin and alligator options available.
There’s a 65 hour power reserve when this watch is not on the wrist.
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Celebrity Audemars Piguet fans include Serena Williams, Drake and many, many more.
866-ferragamo bal harbour shops
A Future Together Directed by Wim Wenders Starring Kayako Higuchi, Amar Akway & Kim Gyeong Yeop Milan, January 2021 Screening now: Ferragamo.com
PANERAI
Goldtech Tourbillon PAM1060 While Panerai’s Florentine roots date back to the 1800’s, this watchmaker’s history is most often recognized for its pieces that were used by the Italian navy for much of the 20th century. There is something distinctly seafaring about Panerai’s striking, outsized models, especially so when it comes to the Goldtech Tourbillon PAM1060, with its smart deep gold case and navy blue dial and strap. (Just don’t get that luxe American alligator strap wet.)
Limited to 100 pieces total.
277 individual parts comprise this watch.
COURTESY OF PANERAI
The unique metal used in the PAM1060 blends yellow gold with a percentage of copper, which gives it a rich, intense red shade. It also contains platinum, which prevents oxidization and boosts the watch’s lifespan.
Panerai is known for its larger faces. This one clocks in at 47 millimeters.
There’s a 6 day power reserve on this model.
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Panerai watches have been spotted on everyone from Sylvester Stallone to Dwayne Johnson.
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In the Atelier
PEERING INTO THE CREATIVE SPACES OF ARTISTS AND DESIGNERS WILL FOREVER DELIGHT US. WE’VE ASKED A FEW OF OUR FAVORITES TO OPEN THEIR DOORS AND SHARE A BIT ABOUT WHAT THEY’RE WORKING ON. Produced by Tali Minor
PHOTO BY ZANDER TAKETOMO FOR TIFFANY & CO.
Artist Daniel Arsham in his Queens, New York studio working on a series of 49 bronze sculptures that reimagine Tiffany’s Blue Box. Inside each box is a limitededition Tiffany x Arsham Studio Knot bracelet in 18k white gold with diamonds and tsavorites.
“My work imagines a contemporary object as if it were viewed from the future. This time dislocation creates a paradox in the object itself, achieved through patina. We’ve applied an aged patina on the boxes and, ironically, the color of the patina is very similar to Tiffany Blue. In fact, the patina itself is colloquially referred to as “Tiffany Green.’” 128 BAL HARBOUR
Zimmermann founder and designer Nicky Zimmermann in her Sydney design studio.
PHOTO COURTESY ZIMMERMANN
“Our design studio is a converted warehouse with lofty ceilings and whitewashed walls. The oversized windows bathe the space in natural light, I love the dappled light that streams through the tree canopies in the afternoons. The space is very collaborative, it iswhere I engage with the team on ideas. We play with fabrics and talk about what we want out of each look. It’s very visual—we have boards up on all the walls where inspiration images and sketches are pinned, and collections take shape.”
To read more about the creative practices of these designers, visit BalHarbourShops.com BAL HARBOUR 129
“A woman on a walk. Liberated, determined, mysterious. In and out of town, women are clearing their heads, refreshing their spirits on a walk. With this as a leitmotif in mind, I designed a collection of items that envelope a woman in a protective, empowering and inspiring way. For her to walk in her freedom with utmost ease.”
“When it comes to the craftsmanship of both our shoes and bags, there are a lot of skills involved. Making the Viv’ Choc bag, for example, requires a specific technique of manipulating leather that’s often used in saddlery. Another bag that is also more complex than it looks is the Miss Vivier bag, which uses Haute Couture techniques in the construction of the pockets.”
Roger Vivier creative director Gherardo Felloni revisits the 1959 Choc heel with the debut of the Viv’ Choc bag this season.
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PHOTO BY BON WANNAWAT, COURTESY AKRIS; COURTESY ROGER VIVIER
Akris creative director Albert Kriemler in the St. Gallen design studio founded by his grandmother, who established the brand in 1922.
Put a Ring on It
If there’s anyone to credit with the rise of luxury piercing it is Maria Tash. The New York City-based fine-jewelry designer recently opened her latest boutique at Bal Harbour Shops—her sixth outpost following London, Dubai, Dublin and her original New York studio— where you can now find her expansive collection of fine jewelry for the body. And for the uninitiated, book an appointment with one of Tash’s skilled piercing artists for the full experience. Here, we catch up with Tash about the evolution of her brand. You opened your first studio in New York’s East Village in 1993, and now, your boutiques are found in luxury shopping centers, including Bal Harbour Shops. At what point did you realize you were onto something that really crossed boundaries? I did not specifically have a vision of going into luxury centers when I began, but as I matured, I became more comfortable in the luxury arena. I crossed boundaries by combining elements of my past and present. In my teens and early twenties I loved goth and punk music and London and Manhattan’s edgy club and concert scene aesthetics. I think my undergraduate Barnard College science degree is responsible for the rigor I have in developing high piercing service standards. All of these aspects created the Maria Tash brand. Is it safe to say you’ve invented luxury piercing? Yes. I have always viewed piercing as a form of beauty, and stressed beauty in the elegance of the jewelry and how it is applied to the body for continuous wear. I spent years in the early ‘90s experimenting with rings and studs and I worked on and invented mechanisms to support my jewelry philosophy while I was developing new designs. Many contemporary jewelry brands are mired in generational mores and habits, and since I am first-generation and did not sprout from the engagement ring, traditional jewelry world, I was able to create a modern brand for men and women who tend to be self-purchasers.
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By Tali Minor
You count many celebrities among your legions of fans. Who are some of your most devoted supporters? It’s an honor and highly legitimizing when celebrities get pierced with us. We have worked with many celebrities over the years, including Julianne Moore, Blake Lively, Shawn Mendes, Rihanna, Charlotte Tilbury, J.K. Rowling, Kate Moss, and Ashley Graham (amongst many others). I love that my jewelry becomes a part of them because in so many cases clients wear my pieces continuously. As public figures, actors are expected to be chameleons—keeping their piercings in I think is a way to stay true to their identity. You’ve introduced a range of exclusive pieces at Bal Harbour. Can you talk about the color palette you’ve chosen? I wanted to design something special for our Bal Harbour opening. Miami is a colorful and vibrant city which calls for stones in vivid and beautiful hues. I sourced some rare rose purple and light pink natural diamonds in special cuts and I knew they would be wonderful as an exclusive collection for my Bal Harbour opening. I also created some new pink diamond finger rings that are gorgeous. These unusual pink diamonds are also incorporated into my iconic earring designs. You’ve shared that you have fond memories of visiting the Shops as a child. Care to share some details from those early visits? I loved and vividly remember my childhood visits to Bal Harbour. My first visit was as a young teenager in the 1980s with my mother. I remember the lustrous foliage inside the mall and the sounds of water. My mom allowed me to purchase navy blue mascara, and then we went to Neiman’s and I purchased a black beaded garter stocking, with rows of cascading black seed beads that decorated my entire leg. I kept that leg “jewelry” element for years. To be part of the modern Bal Harbour is an honor.
IMAGES COURTESY MARIA TASH
Maria Tash’s rosepurple diamond Trinity threaded stud earring, available exclusively at Bal Harbour Shops.
MARIA TASH KNOWS NO BOUNDARIES WHEN IT COMES TO PIERCING, AND HER NEW BAL HARBOUR BOUTIQUE IS THE LATEST SHOWPLACE FOR HER VAST ARRAY OF FINE JEWELRY FOR THE BODY.
Bal Harbour Shops
9700 Collins Ave
Bal Harbour, FL
305.867.7777
Take a Bow XXXX
STELLA MCCARTNEY’S WINTER COLLECTION IS THE MOMENTDEFINING LOOK WE HAVE BEEN WAITING FOR, WITH STATEMENT PIECES READY TO TAKE CENTER STAGE.
BY DALYA BENOR PORTRAIT BY LAUREN MACABEE 138 BAL HARBOUR
tella McCartney is back with a thoughtful bang, delivering her Winter 2021 collection just in time for the reemergence we’ve all been waiting for. Debuting her womens ready-towear with a dose of high-octane energy, optimism and joie de vivre, the pieces are poised to make the grandest of entrances. Mixing and matching psychedelic prints with electro-shock colors and textures, the collection is an escapist fantasy that comes with a one-way ticket to McCartney’s dreamworld. And, as to be expected from the designer whose name is synonymous with sustainability in fashion, her latest vision proves once again that mindfulness is the chicest of qualities. After a year spent in hibernation, McCartney has made it clear that she refuses to hide any longer with a collection that boldly stakes its claim, incorporating larger-than-life silhouettes made for being noticed. Designed at a time when nightlife and glamorous pursuits had just about been relegated to nostalgia, McCartney tapped into that yearning to create a collection charged with an energetic and youthful spirit. This assemblage of clothing—including wide-legged trousers, textured 3D popcorn knits, and all-over sequin bodysuits— takes us out of the everyday, while still being highly wearable. This past year in isolation was a creative renaissance of sorts for McCartney. “The pandemic has allowed us all to take a minute and reflect on how we work,” McCartney says. “It’s given me the time to really slow down and think strategically, which has been a precious gift.” McCartney’s namesake mix of feminine playfulness, exquisite tailoring, and sportswear-inspired detailing has always been combined with her deep-rooted commitment to ecological causes and the break in time this past year allowed her to laser focus on the brand’s values around sustainability and social responsibility. “Fashion is one of the most polluting industries in the world,” says McCartney, with refreshing self-awareness. “The equivalent of one garbage truck of textiles is burned or landfilled every second.” Thinking back to her initial goals, McCartney spent time considering and codifying her vision for the future, which she distilled into an A-to-Z Manifesto as a way to provide her community with tools to “return to the world more mindful.” Using each letter in the alphabet to introduce thoughtful conversations, McCartney tapped international artists to interpret both personal and brand values, including the Winter collection’s reference to “D for Desire.” McCartney has long pushed her brand forward with the latest innovations in fabric technology and sustainable design. For Winter 2021, 77 percent of the collection incorporates sustainable materials such as organic cotton, sustainable viscose, recycled polyester, PVCfree sequins and ECONYL recycled nylon. “Leather and luxury are typically synonymous with each other,” the designer says. “I wanted to approach things differently and prove it was doable without sacrificing style and design.” Incorporating materials such as ECONYL, derived from discarded fishing nets, is an exciting development for McCartney. “The process takes waste, reconditions it and remakes it into garments,” she explains. “It’s truly incredible and completely circular, which is something we need to do more of as an industry.” To wit, the block heel on her Groove knee-high boots is made from recycled ABS plugs, and the Spike sneaker has a sole entirely sourced from waste materials. Extending into the rest of the collection, a lumberjack jacket is made from vegan Alter Mat, a cruelty-free alternative to animal leather, wool coats are sourced from farms with high animal welfare standards and regenerative farming practices. For McCartney, thoughtfully-minded design comes full circle—she proves that one does not have to sacrifice style and luxury in the name of sustainable values.
Mixing and matching psychedelic prints with electro-shock colors and textures, the Winter collection is an escapist fantasy come to life.
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The Secret Ingredient CHEF MINA STONE AND ARTIST URS FISCHER TALK ABOUT FOOD, FRIENDSHIP AND STONE' S NEW BOOK, LEMON, LOVE & OLIVE OIL .
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PHOTOS BY FLORA HANITIJO (STONE), MATTHEW COWAN (FISCHER)
One of the art world’s favorite chefs, Mina Stone, has just released her second book, Lemon, Love & Olive Oil, full of recipes inspired by her Greek heritage.
Urs Fischer: Do you remember when your palate changed and your curiosity for food started? Mina Stone: I remember loving certain simple dishes when I was a kid. My mom says that I was a picky eater. When I see what my 14-year-old stepdaughter eats, I ask myself: “Wow, did I eat like this? Takeout, deli sandwiches, chips?” Yes, that’s exactly what I ate in high school—a bunch of garbage. There was a moment when food changed for me. I, too, was 14, and my friend and I visited her aunt in Spain. I remember thinking, “I never knew food could be this good,” which is weird because in Greece, I had a lot of great food. But there was this woman who would make gazpacho, tortillas and these big Spanish spreads, and every bar we went to would serve snacks. I remember they would have plain yogurt with a spoonful of plain white sugar in it for dessert. She would also make her own granola. It was all really simple but it was the first time I thought—“this is amazing.” The gazpacho recipe in my cookbook is from that experience. UF: I’ve watched you cook for many years and you really want to get it right every time. The times you don’t, it’s easy to tell that you’re not happy. That always made me think of a musician, how that one wrong note hurts. I guess that is because you understand what’s possible, and so you look for ways to make it happen. One of the ingredients in food is the synergy between the people who eat and the people who prepare the food. MS: Absolutely. If cooking is not working as a collaboration, at least to some degree, something gets lost. It never really works for me when somebody asks, “Cook this please—we want it to be like this.” I just don’t think I’m good at it. UF: The kitchen is a kind of the altar, the heart of any house. You’re the master of ceremonies, making it come alive. Do you ever think while you prepare a dish that it will reach the taste buds of many people, almost simultaneously, in a collective experience?
FROM THE BOOK LEMON, LOVE & OLIVE OIL BY MINA STONE. COPYRIGHT © 2021 BY ASIMINA STONE. PUBLISHED BY HARPER WAVE, AN IMPRINT OF HARPERCOLLINS PUBLISHERS. REPRINTED BY PERMISSION. PHOTOS BY CASSANDRA MACLEOD
MS: Yes, that is the part of life in which we can have a very common experience, yet that experience that we all share is also deeply personal. UF: There are an infinite number of cookbooks being released, about every type of food, restaurant and local cuisine. If the first recipe I make from a new cookbook turns out well, then that book is my friend. The power of a great cookbook is that it allows me to make something I never thought I could. I feel your last book did that for a lot of people. That’s a real achievement. I learned a lot from you when it comes to allowing yourself time. What is most impressive is that you never seem stressed when you work. I cannot say that about a lot of people when they cook; the closer they come to finishing, the more stressed they get. Your steps seem premeditated and I never saw you losing your order. Are you aware of that? MS: I am now, though I think in the past I wasn’t aware of it. It relates back to the very beginning, when I first cooked dinner at Gavin Brown. When you’re cooking for a large crowd, there is no way you’ll be able to get five dishes out that are all hot, especially when you’re working with just two burners. That’s how I developed a way where some things are uncooked and you can assemble them ahead of time. That was the only way I was going to really be able to feed everybody at the same time. I also think that the vibe is important. I often feel that at a dinner party, the person who’s cooking is really stressed out. I always remember about my grandma that she would get up at six o’clock in the morning and make all the food. Then, when we would sit down to lunch, she would be very present, not stressed, and making the finishing touches on the few things that were time sensitive. UF: What role does temperature play in your cooking? MS: I think lukewarm food is better because you can taste the flavors. When you’re eating something very hot, you’re tasting the heat and not all the flavors have had time to settle. UF: You taught me that temperature is an ingredient. When you cook for a smaller group, and you’re invited to the table, how does it feel to watch people eat what you cook? MS: I hate it. I wish I could say I loved it, but I get a little nervous every time. It’s my personal moment of judgment. I worked hard on something and I want the people eating it to like it. In this moment you can see if they like it. You can tell. UF: One thing that always strikes me is the harmony between all the elements in your meals— the emotional, the communal, the temperature and the nutritional aspects. Then there’s your choice of ingredients—the textures, colors, flavors and smells. All of these things become one experience in your food. It’s like eating with all my senses and my entire body. I’ve witnessed a lot of happy people leaving your meals. MS: I think that’s the highest compliment, because a meal is something that starts and ends pretty quickly. The fact that you can carry a feeling after that, one that’s positive and lasts for the rest of the day, is a lovely thought.
From top: chickpea salad with feta and herbs; carrot salad with toasted seeds and nuts; skordalia (Greek potato and garlic sauce) and cucumber salad with toasted sesame seeds, dill and parsley.
If you’re hungry for more of Stone’s recipes and tips, you can attend her virtual author event presented by Books & Books Bal Harbour on September 30, where she will be in conversation with artist Dara Friedman. Reserve your ticket at booksandbooks.com Then, on November 12, Stone will be the guest chef at Miami’s Bakehouse Art Complex’s 35th Anniversary Celebration. The multisensory event includes artist performances and an incredible meal conceived by Stone. Visit bacfl.org for details and tickets.
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Representing
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AN ICON
PHOTO BY Y.Z. KAMI (PORTRAIT), MANOLO YLLERA (ISTANBUL). IMAGES FROM THE ARCHITECTURE OF CHANEL, COURTESY OF PHAIDON
THE LEGENDARY ARCHITECT AND PATRON OF THE ARTS PETER MARINO LOOKS BACK ON HIS 25-YEAR-LONG COLLABORATION WITH CHANEL. By Lauren Hill
O
ne architect, one brand, 25 years: I can’t think of another fashion brand that’s been that loyal and I mean that sincerely,” enthuses Peter Marino, who has realized somewhere near 200 projects for Chanel over the past several decades. An eminent figure in the fashion world, the architect known for his edgy biker style and work with prominent clients including Andy Warhol has forged an unprecedented design partnership with the fashion icon. What is it that makes Chanel stand out in Marino’s mind? “Coco Chanel was a modernist, a non-conformist, a very original spirit in the time she lived,” he says. “And the Chanel brand still has a kind of modernity that never goes out of fashion. My wife, a costume designer, has about 30 years of Chanel in her closet and she still wears all of it. Which other brand can people say that about?” The architect began working with Chanel during what he playfully calls “the R.o.K. or Reign of Karl” several years after Karl Lagerfeld took on the role of creative director—a position he held for more than three decades. “I’d been working for the Wertheimer family, who own Chanel, since 1984 so when they were shopping for a new architect for the brand, having done so many homes for the owner, they considered me. Lagerfeld’s time with Chanel is almost unequalled. I came in at the height of his power.” Since then, Marino has been charged with exclusively designing all of Chanel’s stores around the world and has done so incorporating brand references like the use of black and white and playing up his affinity for pearls. It’s this impressive portfolio of work that Marino is showcasing in his new book, The Architecture of CHANEL, out this fall from Phaidon. The design tome shines a light on 16 of the most significant buildings Marino designed for the fashion house, illustrating their shared drive for innovation and reverence for lessons of the past, linking classic and modern, sophisticated and simple, irreverent and respectful. “There’s no other brand that’s given one architect an opportunity like this over so many years,” Marino explains. “It’s an unusual loyalty which I’m trying to show produces great variety in work that still reflects the core value of the brand. I made this book to show some of the full-scale buildings, sometimes skyscrapers, we’ve created around the world that consist of complete architecture, complete interior design, complete accessorizing.” Over the years, Marino has designed each building to create a modern yet timeless space that embodies
Opposite, architect Peter Marino in front of a portrait of Coco Chanel by Y.Z. Kami; here, Chanel, Istanbul, Bağdat Street.
the spirit of Chanel. He also draws on his fine art background—collaborating with an ever-increasing number of artists—elevating retail spaces to become cultural experiences. “My background in fine art makes me more sensitive to color, texture, human visual perception and abstract architectural theory,” he says. “I go to art galleries every single Saturday and I have my own art foundation. I’m always looking for new talent to work with.” At Chanel Bal Harbour, Marino’s approach results in a space that combines the brand’s classic black-and-white aesthetic with shades of gold and an exterior pairing white marble with floor-to-ceiling windows. Specially commissioned works by artists including Peter Dayton, Marc Swanson and Liza Lou meet design features such as an 18th-century Regency fireplace mantel and Goossens bronze chandelier with crystal ornamentation.
Other notable projects included in the book are the five-story New York 57th Street location featuring the artist Jean-Michel Othoniel’s 60-foot suspended bead-like sculpture referencing Chanel’s pearls and other sitespecific stores which rise up from the streets of cities ranging from Istanbul to Tokyo. “The Chanel Tower in Tokyo was an opportunity to really do something new,” notes Marino of the building’s innovative glass and LED screen façade. “That store, technically, is probably one of the greatest achievements of my lifetime.” Each project that’s come out of this 25-year Chanel and Marino partnership pairs hallmarks of the legendary fashion brand with the creative expression of an architect who sculpts spaces and experiments with materials. “The Wertheimers are wonderful to work for because they believe in me as an artist,” says Marino. “They’ve always given me a lot of creative freedom.”
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AT GUCCI, ALESSANDRO MICHELE LEADS THE WAY WITH UNEXPECTED— AND EXHILARATING— NEW TAKES ON FASHION PARTNERSHIPS. NICK REMSEN FOLLOWS THE TRAIL.
Life HACK A marquee look from Gucci’s Aria collection suggests that perhaps wearing something printed with the word Gucci may no longer be enough to turn heads. But Gucci and Balenciaga? Now we’re looking.
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PHOTO BY GREG AVENEL, COURTESY GUCCI; COURTESY BALENCIAGA
bout a third of the way through Gucci’s Fall/Winter 2021 film, the (very catchy) song “Gucci Flip Flops” by Bhad Bhabie ripples through the room. It is one of multiple audio clips spliced across the show’s soundtrack that makes use of the word “Gucci.” As the collection—titled Aria—is revealed, paparazzi-style strobe lights blink and click along the length of the catwalk (which was built at Rome’s famed Cinecittà Studios), following the models. The video is neo-classic Gucci, packed with creative director Alessandro Michele’s penchant for quirky magpie plot lines and splashy look-atme glamour. Yet glamour is de facto, considering we’re talking about one of the world’s most recognized fashion labels. What really made this collection shine was its newfound take on the art of collaboration: in it, Michele “hacked” Balenciaga, Gucci’s sister brand under the holding company Kering. See, for example, a pair of thigh high boots printed with Gucci’s timeless garden motif—for Fall/ Winter, the flora is overlaid with Balenciaga’s text logo. There’s Balenciaga’s signature Hourglass bag, rendered with Gucci’s double-G monogram. And, arguably, the lineup’s marquee hit is a disco-ball sequined blazer-and-skirt set with both brands’ monikers spelled out in black glitter. In a promo for the collection, Michele says he was speaking with Balenciaga’s creative lead, Demna Gvasalia, a few months before production got under way. “I said, ‘can you imagine if instead of sending Gucci bags down the runway, I sent out bags from another brand?’” Counterintuitive risks can go a long way in a field that has historically played it safe when it comes to disrupting the status quo. The reception around Gucci Aria was frenzied; it stirred up a massive amount of interest from a bored and largely still-in-lockdown world. The last time that happened, in this writer’s opinion, was when Louis Vuitton collaborated with the skate-centric brand Supreme in 2017. All of the above raises a few key points as to what makes Michele so shrewd, and what, in general, brands need to do to have their voices heard above the rest. Luxury labels may still gain significant traction with unexpected partners, even though collaborating (usually with an artist or a musician) is now commonplace. They can also benefit from hyper-branding; for better or worse, we live in a day and age when social media and digital presentation governs
how we dress. Celebrity stylists are thinking more about image proliferation across Instagram; designers are creating evermore innovative look books (the couturier Iris Van Herpen, for example, shot her most recent collection on a free-falling professional skydiver). Michele’s twisted, brilliant point is that perhaps wearing something printed with the word Gucci may no longer be enough to turn heads. But Gucci and Balenciaga? Now we’re looking. Score your runway for those pieces with popular songs that underline Gucci’s cultural power? Now we’re looking and listening. To note, there are a number of brands that have implemented strong and, in fact, surprising collaborations in 2021. The swimwear label Vilebrequin recently collaborated with media platform High Snobiety, which reports on streetwear, trends, hype-driven apparel and sneakers. Missoni blended its bohemian-traditional aesthetic with the edgier Palm Angels. Fendi tapped a New York-based creative named Sarah Coleman for its Vertigo collection, featuring wavy double-F’s that leave the viewer feeling a bit dizzy. Bulgari collaborated with the London-based, print-centric ready-to-wear designer Mary Katrantzou. At Prada, Miuccia Prada is collaborating with Raf Simons (he is listed as “co-creative director”). Zegna has run a successful collaboration with the Los Angeles-based label Fear of God. And of course, for Spring/Summer 2022, Balenciaga flipped the script on Gucci; in that collection, Gvasalia took the aforementioned double-G monogram, for example, and redesigned it with double-B’s. It can be a lot to sift through, and, for fashion design purists, all of the logomania and overtness may well be a detractor. But ultimately, Michele and Gvasalia’s synergistic move has further underscored that luxury is no longer a grand theater partitioned by gilded circles. Fashion brands that see themselves as part of, as opposed to above, popular culture are the ones succeeding; they’re the ones changing the so-called game. Plus, it’s always worth remembering that, really, there are no rules when it comes to outside-the-box-thinking. As Michele says, “fashion is a wonderful illusion.”
Here, a look from Balenciaga’s Spring/Summer 22 collection; below, the brand’s Hacker Graffi ti tote bag and Crocs mule.
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A NEW BOOK OUT THIS FALL CELEBRATES PHOTOGRAPHER STEWART SHINING’S CREATIVE RELATIONSHIP WITH SUPERMODEL ALESSANDRA AMBROSIO. BY RACHEL MARLOWE
PHOTO BY STEWART SHINING FROM ALESSANDRA, PUBLISHED BY ROME PAYS OFF
Fashion icon Alessandra Ambrosio and photographer Stewart Shining met nearly two decades ago. Since then, their relationship has transcended that of imagemaker and muse, to one of deep friendship. A snapshot of their creative collaboration over the last 20 years is captured in Shining’s first book, Alessandra. We sat down with the photographer to talk about friendship, creativity and collaboration. When did you and Alessandra first meet? The first picture I ever snapped of Alessandra was a Polaroid at a casting. She was 17 years old and I responded to something right away. She was like this little, waifish diamond in the rough but I saw something in her eyes. Those eyes just draw you in. I snapped these Polaroids and I booked her for a job, which was a Wallpaper magazine cover. After that we were off to the races: we started shooting for Victoria’s Secret and one day they came to us and said, ‘Hey, we have an idea for this line called Pink. We love what you guys do together so we want to send you a bunch of clothes and let you have fun.’ Pink went on to become a juggernaut so there’s a big section of the book covering those years. Your photos are very colorful and joyous and have a lot of energy to them. How do you create that? We had fun from the get-go, but as I was working on this book and going through all the contact sheets I noticed that there was so much laughing. Alessandra laughs with without inhibition, she is goofy, she is always cracking up, which means I am cracking up. There’s great joy in what we do. What motivated you to compile these images and document this creative relationship in a book? I arrived at this stage in my career where I felt like I needed to do a book. Most photographers publish an anthology of their work, but when I started looking through my pictures I kept coming across all these unpublished pictures of Alessandra. So I called Alessandra and told her what I was thinking and she was like, no way. So I said ‘Come on, you’ve been doing this for so long, you need a book.’ Finally she said maybe a tiny, tiny book. The book ended up being more than 200 pages because we had so much to choose from.
How did the image selection process work? We are best friends so I wanted her to participate and tell me what she thought. We are also very aligned so it was mainly going back and forth over certain pictures—which ones I liked better or which ones she liked more—and then talking each other into it. The book isn’t chronological, but divided into visual chapters. The majority of it is unpublished images with a few of our greatest hits thrown in and then we did several shoots specifically for the book. I think those pictures are some of the strongest we’ve done in our lives because we weren’t on a job trying to show a back pocket or the texture of a piece of clothing. We were just out there to make beautiful pictures together, and I think we made some iconic ones. You say your relationship goes beyond that of an image-maker and muse, what do you mean? In this day and age, the word muse sounds very objectifying to me. We’ve grown up together and we’ve experienced life events together. We know each other’s families. When I point the camera at her we have this energy that snaps back and forth between us. It’s like fireworks. when she’s in front of a camera everything falls away and she’s fearless. Suddenly there’s a different creature standing in front of me than my friend who comes to our backyard barbecues. Looking back at the finished product what do you see in Alessandra? The book is really a document of our friendship. It’s my tribute and my homage to her beauty, her skill and what she’s achieved as a model, because when you look at that first Polaroid of a little girl that walked into my studio and you look at the photos of her now, that wasn’t an accident. She has worked hard. As for myself, I think I’ve gained a quiet confidence over the years. When I look back at the early pictures, I can almost feel the nervous energy and that’s fun, but now, when I step out on the set and pick up a camera, I know what I’m doing. I know what I’m looking for. It’s a more intentional and gratifying experience in a way because in the old days it was like ‘Am I gonna get it?’ These days, I know I’m going to get it.
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Scent in STONE CHANEL CELEBRATES THE CENTENNIAL OF ITS NO. 5 WHAT DO DIAMONDS SMELL LIKE? BY SHANNON ADDUCCI
t is universally understood that scent is one of the most powerful ties to memory. And when it comes to perfume, Chanel’s No. 5 may be the most recognizable of them all. It is understandable, therefore, that on the occasion of the scent’s 100th anniversary, the French luxury house wanted to celebrate with more than a commemorative bottle for the perfume. Instead, it imagined a series of objects—all done in diamonds. With Chanel Fine Jewelry Creation Studio Director Patrice Leguéreau at the helm, the brand created its Collection No. 5. using the bottle’s most iconic details to create 123 individual pieces. The high jewelry line is the first ever to be dedicated to a perfume. “I attempted to illustrate, without concession, the power, strength, femininity and incredible richness of the jus,” says Leguéreau. To do this, the designer identified five key elements of the perfume: the stopper, the bottle, the number “5,” the flowers and the sillage (how the scent diffuses with the wearer as they move). “We used the visual identity of the bottle to reach into the imagination of the fragrance,” Leguéreau explains. “This meant moving from the visible to the invisible, expressing, for example, the olfactory explosion of the perfume and its trace, both tangible and intangible.” The results are sparkling pieces that utilize emerald-cut diamonds as the bottle stopper shape or actual rock crystal to replicate a crystal top, for example. In other pieces, different cuts of diamonds cleverly assemble in a setting to reveal the number 5, while rectangular settings outline the shape of the bottle. Diamonds in the shape of jasmine (the scent’s key floral note) dot ear climbers and between-the-finger rings. The more interpretive pieces refer to the fabled sillage, with a spray of diamonds or colored gems such as rubies, garnets, spinels and yellow sapphires running
down a décolletage or across a wrist. In a bottle-shaped brooch, the perfume itself is articulated in pear-shaped yellow diamonds that drip down the bottom. At the very top of the collection is the 55.55, a necklace that combines all of these symbols and adds the quite literal interpretation of a 55.55-carat diamond. The center stone, a D-flawless quality emerald cut, was custom cut specifically for the piece and then set in 18-karat white gold with 104 round brilliant diamonds and 42 baguette-shaped diamonds. “We started with a rough diamond that we had cut, not to make the biggest stone possible, but to obtain a perfect octagonal diamond weighing 55.55 carats,” said Leguéreau of the piece, which will remain with Chanel as a museumlevel display piece. “This is an unprecedented approach.” Carats aside, Leguéreau’s process through symbolism has its own legacy with the brand, mirroring that of its notoriously superstitious namesake founder. Coco Chanel regularly used specific objects as her talismans, from the camelia flower and the lion’s head to tufts of wheat and the stars of the night sky, all of which is still kept in regular rotation in Chanel’s design studios, from haute couture to beauty and fine jewelry. Chanel also followed a similar painstaking process when she first developed the No. 5 perfume in 1921, with legendary perfumer Ernest Beaux at her side. Marketed as the first “perfume for women with the scent of a woman,” it ushered in a new era of perfume with its scent notes and mysterious name. Leguéreau looked to both the 1921 perfume debut as well as Chanel’s groundbreaking 1932 high jewelry debut, the “Bijoux de Diamants” collection of platinum and diamond jewelry to find common ground with today’s collection. “They both come into direct contact with a woman’s skin,” noted Leguéreau on the similarities between scent and sparkle. “Chanel encouraged women to integrate these precious jewels into their outfits, to make them their own as elements of style. In both cases, there is the same creative impetus.” Chanel’s No. 5 brooch, with a spray of yellow sapphires dripping down a white diamond and white gold bottle.
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This season has all of the looks—whether you’re escaping reality or settling back into it. From silky sweet frocks to logo-laden coats and print galore, it’s hard not to get carried away.
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AKRIS St.Gallen Mapprint top and skirt and cashmere scarf, 305.866.2299; GUISEPPE ZANOTTI heels, 305.868.0133.
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ESCADA coat, sweater and trousers, 305.867.9283; DAVID YURMAN pavé Starburst cluster earrings, 305.867.1772.
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Photographer: Ryan Pfluger/ Supervision Stylist: Sonia Young/ The Only Agency Hair: Veronica Nunez/ Art Department Makeup: Omayma Ramzy/ WSM Models: Sanne Vloet/ Heroes Model Management; Zoe Council/ Photogenics Media Production: Sammy Bass, Chris Charlton, Justin Fluellen/ BaM Productions
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AFTER OLIVIER ROUSTEING’S FIRST DECADE AT BALMAIN, THE DESIGNER HAS NOTHING LEFT TO PROVE. NOW, HE’S FOCUSING ON WHAT’S IMPORTANT—KNOWING YOUR HISTORY AND BEING A WITNESS TO YOUR TIME. AHEAD OF HIS NEXT CHAPTER, THE DESIGNER SPOKE ON GETTING SOFTER WITH AGE. BY KAT HERRIMAN PORTRAIT BY FRANCESCA BELTRAN
a H ERO for Now
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I fi rst encountered the magnetism of Olivier Rousteing while working at W magazine. The fi rst Black designer to head a major French fashion house, Balmain' s Rousteing was seemingly born a press darling. Yet, celebrations collided with put downs: there was something about those fi rst years of coverage across just about every glossy title that felt less like support and more like tokenism. W' s 2014 profi le of the designer, titled ª Phresh Out the Runway,º starred Rihanna, Iman and Naomi Campbell in Rousteing' s chunky bamboo earrings, beaded chokers and matching knitted dresses with abacus rows. The images captured by photographer Emma Summerton struck me as tone deaf, which I pointed out to my bosses. They told me no one would care.
Rousteing’s aviation inspired Fall 2021 collection blurred the rough edges of his embellished utilitarianism with candycolored knits and padding.
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They were right. There was no online fuss, just crickets. Now, that would never happen. Not because we have the @DietPrada police but because pioneers like Rousteing followed their own instincts for what Balmain should look like rather than caving to fashion’s worst. Named creative director at 25, Rousteing spent his late twenties ignoring calls to tone down and scale back his active social media feed and celebrity ties, especially to the music industry. Today, Rousteing’s early muses, Rihanna and Kim Kardashian to name two, are unequivocally the most important fashion icons of our time. Not to mention the ubiquity of social media as a tool for fashion brands low and high. In 2021, Rousteing’s prescient vision for the future feels almost psychic, yet it also reveals the depths of the industry’s elitism and narrow mindedness. “I’m really proud when I go to see fashion schools now because I can be the example. When I was younger, I didn’t have that example,” Rousteing explains. “But as a designer, you cannot be ashamed of the music you listen to and the icons of your time, you have to embrace them in your work. Not everyone needs to be influenced by the same mood board of the 60s and 70s and girls like Brigitte Bardot and Jane Birkin. I fight against that because I care about the future. I care about the new generation. I don’t want them to suffer from the same frustrations.” I tell Rousteing over the phone that the W profile was one of the most memorable things I worked on; the imagery I understood at the time was immediate canon. It registered like Elizabeth Taylor’s jewels at Sotheby’s. I told him I knew I was in the presence of instant iconography, a witness of my generation. In a recent podcast interview with Tim Blanks for Business of Fashion looking back on his past decade at the brand, Rousteing
PHOTOS COURTESY OF BALMAIN
spoke about his original goal to make Balmain a household name. He explains that his signature social media vulnerability and celebrity collaborations with friends were not a liability, but rather the formula Rousteing used to raise the label to international prominence. Now, Balmain is a part of the pop vernacular—appearing in film and music as a luxury reference. “When I started at Balmain 10 years ago, many people didn’t know the name Balmain,” Rousteing explains. “Now my 11-year-old cousin knows—even without our relation. If you listen to music, Balmain is in the air.” This September, Rousteing celebrates the leaps and bounds he’s taken within the brand with the SS22 collection (and a big party that was still under wraps when we spoke). He hinted that the collection itself would take a surprisingly retrospective approach looking back at some of the standout garments the designer has put out. Examining one’s history is a new luxury that Rousteing has been reveling in. After six or seven years at the helm, he tells me that he began to feel free to explore emotional content that wasn’t solely protective. As a result his armor-like silhouettes have softened with time, creating a sense of nuance that was not detectable in the first years. His aviation inspired Fall 2021 collection, which starred Charlotte Stockdale and Katie Lyall as flight attendants, blurred the rough edges of his embellished utilitarianism with candy-colored knits and padding. PostCovid travel was a big inspiration for the designs but also acted as an homage to the designer’s own recent whirlwind adventure filming Wonder Boy, a documentary that followed Rousteing on his journey to find his birth parents. Rousteing mentions that his experience filming Wonder Boy helped him access a new level of vulnerability that can be sensed in the clothes. Like his plunge into creative directorship, Wonder Boy showcases the bravery with which Rousteing approaches the world but also his current interest in self-reflection that is perhaps more organic to one’s thirties than their twenties. The Balmain Army he’s cultivated over the past decade is now ready to be schooled on their heritage. “I started Balmain by almost being a warrior or, you know, a fighter,” Rousteing says. “I think it’s time that people knew this is a brand that started in 1945 and I’m just one chapter of it.” The SS22 collection promises to bring all the glamour and tenacity of Rousteing’s first decade together with where he is now—comfortably ensconced amongst a constellation of stars he helped create.
“I think it’s time that people knew this is a BRAND that started in 1945 and I’m just one CHAPTER of it.” —Olivier Rousteing
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SOMETIMES A LITTLE TENSION CAN BE A GOOD THING. THIS SEASON, MIX SOFT FABRICS WITH A STRUCTURED COAT, OR PAIR A VOLUMINOUS DRESS WITH SNEAKERS FOR A FRESH TAKE ON CLASSIC LOOKS.
The Space Between photography by VANESSA GRANDA
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Photographer: Vanessa Granda Stylist: Dominick Barcelona Stylist Assistant: Tevin Consiglio Production Design: Mat Cullen/ Lalaland Production Producer: Erin Abeln/ Eventure 1st Art Assistant: Shauna Saneinejad 2nd Art Assistant: Sam Millstein Hair: Erol Karadag Makeup: Ai Yokomizo/ Bridge Artists Nails: Ami Vega Model: Marie Teissonniere/ Next Management Lighting: Logan Rigg Digital Technician: James Yarusinsky
PRADA coat and boots, 305.864.9111. DAVID YURMAN Lexington Drop earrings and Continuance full pavé bracelet with diamonds 305.867.1772.
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HOW JONATHAN WEISS CREATES THE BEST AUDIO GEAR IN THE WORLD BY SASHA FRERE-JONES PORTRAIT BY CYNTHIA VAN ELK
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Jonathan Weiss flanked by Imperia loudspeakers; in the foreground area a pair of Deville loudspeakers from OMA’s sister brand, Fleetwood Sound Co.
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Monarch speakers, pictured in OMA’s Brooklyn showroom.
A Muddy Waters album is playing, and though I know the recording, I don’t know how much lies within it. Made in September 1963, Muddy Waters’ Folk Singer is the sound of acoustic guitars and basses and a very quiet snare drum. Over this particular pair of speakers, Folk Singer doesn’t feel like music but rather the evidence of the physical space between four people. The musicians are simply there, in the way a tree might be in front of me. Everything is present in an unfancy, physical way. Muddy Waters sounds like this because Jonathan Weiss is playing his record over Oswalds Mill Audio Imperia speakers, as well as a gang of other OMA gear. We are in his long and roomy loft in Dumbo, Brooklyn, which feels like an art gallery precisely because of these speakers, which look a bit like 18th century farm equipment, all buttery wood and dark metal. These objects seem so unlike technology, as we think of that category now, and yet they are absolutely speakers, made of iron and slate and, most visibly, wood. “Wood is difficult and expensive,” Weiss says. “There’s a reason people haven’t used it.” But Weiss does use wood and a host of natural resources that
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haven’t been common in audio equipment since the early 20th century. The equipment produced in the Oswalds Mill factory in Fleetwood, Pennsylvania, is outside both time and fashion. It’s expensive, but it’s also not really designed to be popular or fashionable. What Weiss found almost thirty years ago was something like Atlantis, or the Dead Sea Scrolls of audio. We had great sound, and then we walked away from it. “The RCA gear used in cinema before World War II sounded amazing. I got to work in a movie theater growing up and that’s where it began.” A New York kid transplanted to LA, Weiss worked in an old movie theater in Westwood as a teenager, where he heard his first proper cinema sound system. After university at Princeton and the London School of Economics, Weiss moved back to New York and taught himself filmmaking. He’s passionate about what he does, whatever it is. In 1999, he released his directorial debut, Atrocity Exhibition, an adaption of J.G. Ballard’s 1970 experimental novel. After that, he stumbled onto a rare house mill in Pennsylvania, which had been lying in ruins for nearly half a century. He restored and occupied the building, which in turn inspired the name of his audio company, launched in 2006. This career path does not conform to any advice you’d get from productivity gurus or TED talks. Weiss doesn’t primarily produce his gear to make money, and as pricey as the OMA products are, much of the proceeds go back into the process. Weiss threw himself into the search from the start, an audio explorer who knew there was a place that the gear just wasn’t getting to. His first model, the AC-1, was made for photographer Anton Corbijn in 2006. Luminous wooden contraptions, they look a
PHOTOS © CYNTHIA VAN ELK / OMA
OMA’s Imperia speaker
bit like windmills. The Ironic speakers, made of iron and vastly heavy in order to isolate the gear from vibrations, look like little clouds of bubbles, as if an iron Zeus had blown them through a tube. What Weiss makes does something profound, creating an effect that goes way beyond and above categories like “wow” or “cool.” OMA gear reconnects music to its elemental and physical nature, and reveals what is in a recording. Not everything sounds great on this equipment—overly produced records, for example, don’t respond well to this pure-sound approach. OMA gear simply tells you the truth, which is an idea as alien to commercial ventures as making speakers out of wood. When he plays me Bob Dylan’s “Don’t Think Twice, It’s Alright,” he tells me about the harmonica test. “Harmonicas work with harmonic frequencies that are very hard to reproduce,” Weiss says. “They almost never sound good.” When Dylan finishes the chorus, and adds a wheezing little harmonica figure, it doesn’t sound like my memories of the record. The tone is unexpectedly soft, like a few colored banners flapping out into the breeze and then falling back against the building. I wouldn’t know how to describe it beyond saying that it sounds like what Dylan actually did. Whether or not it is good is a condition that Weiss and OMA return to the artist and his music. This equipment is so good you simply forget it’s there, even the six-foot tall wooden sentries.
The Ironic speakers, made of iron and vastly heavy in order to isolate the gear from vibrations, look like little clouds of bubbles, as if an iron Zeus had blown them through a tube.
These objects seem so unlike technology, as we think of that category now, and yet they are absolutely speakers, made of iron and slate and, most visibly, wood.
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An Illust
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rated LIFE ARTIST REYNA NORIEGA HAS BEEN ON A STELLAR TRAJECTORY, AND IS ABOUT TO TAKE ON HER LARGEST PROJECT TO DATE AT BAL HARBOUR SHOPS. By Folasade Ologundudu
Noriega rendered five of her favorite looks by Pierpaolo Piccioli from Valentino’s Fall 2021 Haute Couture show in Venice.
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You’re a published author and a poet. How does poetry and communicating through words make its way into your artistic practice? My poems give insight to the how and why of my art. As I work to make sense of what I am growing through, I record it as poetry. I’m always on a quest to bring more peace and joy into my life and because I am able to do the work to make that happen, the themes show up in my art: joy, vibrancy, peace, self-confidence. My audience can read my poems and see a blueprint for my success. What’s motivating you these days? What are you excited about? Opening my own gallery! The goal is to be the first Afro-Latina of my age with her own space in one of the arts districts in Miami. The gallery will not only represent my work, but be a hub for underrepresented artists. There will be community classes, events and so much more. What prompted you to want to open your own gallery? First and foremost, it started as an idea based on how I can better solidify a legacy. I want to create a real space where people can come together and experience art in real time. In Miami, we don’t have a lot of spaces like that, especially because people of color have been left out.
Artist Reyna Noriega has created illustrations for clients ranging from Apple to The New Yorker, who commissioned her for the cover of their March 2021 Style and Design issue.
Have you worked with any organizations or advocacy groups? Yes—what I do is for nothing if it doesn’t help liberate my communities and other disadvantaged groups. I work with organizations that support women, children, and people of color, such as New Florida Majority, Miami Workers Center, Buddy Systems Community Fridge, Soul Sisters, Pace Center for Girls and many more. How did Covid affect your creativity and what did you discover about yourself during the pandemic? When the pandemic flipped everything upside down, it became even more important to find ways to cultivate joy and peace. Personally, I learned
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to trust my journey and timing. I received so many blessings I would never have expected. For this magazine’s coverage of the Couture collections, you were asked to illustrate the looks that inspired you the most. Can you tell us a bit about the selections you’ve made? The couture looks I picked celebrate similar themes to those in my work—they are elegant, dreamlike even. The Valentino collection was striking for the bold, beautiful colors and modern takes on some traditional couture cuts. It felt like wearable art, which I love. On the subject of commissions, how did your New Yorker cover come about? I actually squealed when I received the email from the editorial team! One of the editors saw my work on Instagram and the conversation began from there. If you are an illustrator or fan of illustration, you know that the New Yorker is the ultimate get. It was a dream of mine, but one that I would have expected to come way later in my career. What advice would you give to young artists who want to run their own business? Keep working on you. Get to the root of who you are and want you want, work on your self-confidence. Really sit with yourself and what makes you unique. Celebrate that! The times I almost quit were because I was in a constant loop of comparing myself to others or feeling I wasn’t good enough. But, to make art that people will connect with, it needs to come from a real and authentic place. Can you speak about your Bal Harbour Shops commission and why it was important for you to do? The Bal Harbour commission is a full circle moment for me. The first time I went to Bal Harbour I was a 20-year-old college student and I wanted to take my little sister shopping. I couldn’t buy one thing, not even lunch. I vowed that I would not go back until I could afford to shop there. This year I bought my first Fendi purse. I can’t believe I will be a part of the historic mall’s story in this way— creating an original multi-part artwork that will debut later this year. The details are still under wraps, but it’s going to be huge! It’s a beautiful testament to how hard I’ve worked.
PORTRAIT BY VALENTINA PEREZ
R
eyna Noriega’s illustrations feel like an extension of her very being. The liquidy forms are self-possessed, taking up space with a colorful vibrant energy just like the artist who renders them. I sat down with Noriega in her Miami home to learn where these visions come from.
Mel, one of Noriega’s recent works, showcases her mastery of turning simplified shapes and forms in vibrant shades into moving images.
“My poems give INSIGHT to the how and why of my art. I’m always on a quest to bring more PEACE AND JOY into my life. These themes show up in my art: joy, vibrancy, peace, self-confidence.” —Reyna Noriega BAL HARBOUR 203
Ruth Asawa and her Wire Sculpture 2, 1956
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PHOTOGRAPH BY IMOGEN CUNNINGHAM © 2020; IMOGEN CUNNINGHAM TRUST; ARTWORK © ESTATE OF RUTH ASAWA; COURTESY DAVID ZWIRNER
THROUGH HER SINGULAR VISION AND EXTRAORDINARY RESILIENCE, RUTH ASAWA SAW THE ART IN EVERYTHING SHE TOUCHED. SPINNING STRAW INTO
GOLD BY JANELLE ZARA BAL HARBOUR 205
Installation view of “Ruth Asawa: A Line Can Go Anywhere,” at David Zwirner London, 2020.
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spent 18 months of her life imprisoned. “Sometimes good comes through adversity,” she said in 1994, reflecting on the silver lining of a nightmarish ordeal. “I would not be who I am today had it not been for the internment, and I like who I am.” In camp, Asawa took drawing classes from JapaneseAmerican Disney animators. Later, she excelled at North Carolina’s Black Mountain College, a school made legend for cultivating artists like Cy Twombly and Robert Rauschenberg, and challenging students’ resourcefulness with its notoriously low budget for art supplies. “Rather than being concerned with your own design ideas and forcing your own ideas into it,” the artist explained in the 1977 documentary Ruth Asawa: Forms and Growth, Black Mountain’s esteemed faculty tasked her with critically examining cheap, ordinary materials for their own inherent qualities and potential. Under the close mentorship of Bauhaus painter Josef Albers and American architect Buckminster Fuller, she made her first wire sculptures in the late 1940s, already conditioned by hardship to value the beauty of the mundane: in scraps of wire, in the patterns of a leaf, or in myriad organic forms that would later emerge as defining features of her work. Asawa developed a wide-ranging, interdisciplinary practice of painting, drawing and cast sculpture, but her unparalleled wire works continue to be her best known. In 2020, they graced a commemorative edition of U.S. postage stamps, and in the same year, a single work from 1952 sold at auction for $5.4 million. The artist, unfortunately, was not alive to witness either event; she passed away peacefully in San Francisco in 2013, shortly after opening her first solo exhibition in New York in 50 years. “During her time, it was difficult for a woman artist using craft processes to be taken seriously,” Jans says, explaining why it wasn’t until the last decade that the art market recognized Asawa’s contributions: In the previous century, press had referred to her as a “housewife” rather than an artist, and saw her process as knitting rather than sculpture. Because of her late commercial recognition, the prevailing notion is that success eluded Asawa until much later in life. The truth is, however, that she led a robust, active career after moving to San Francisco in 1949, raising six children as she continued to make work. Her lasting impact remains plainly visible, not only in every young artist successfully working with craft techniques today, but in the arena of public life. From the 1960s onward, she installed public sculptures throughout Northern California—fountains, a mosaic and bas-relief sculptures—while diligently promoting arts education through lobbying and advocacy. Intent to pass the life-changing mentorship she experienced at Black Mountain College to the next generation, Asawa worked steadfastly to establish San Francisco’s first public school for the arts, which opened in 1982 and in 2010 was renamed the Ruth Asawa San Francisco School of the Arts. (Never one to have idle hands, for years she maintained the school garden with student and parent volunteers.) For a visionary practicing ahead of her time, art was not a career for Asawa, but the axis around which life humbly revolved. “I’m really concerned with how much I can pack into a day,” she said in the 1977 documentary, as the camera followed her watering and sketching the vegetables in her garden; teaching children about ink transfers; planning a sculpture for the Oakland Museum. Regardless of art world fame and fortune, art permeated even the most quotidian tasks. And, she said, “I really enjoy everything that I do.”
PHOTO BY JACK HEMS, © THE ESTATE OF RUTH ASAWA, COURTESY THE ESTATE OF RUTH ASAWA AND DAVID ZWIRNER
uring the six decades of her career, the late American artist and outspoken arts advocate Ruth Asawa practiced a kind of alchemy, transforming everyday materials into spectacular works. Using the basket-making technique she learned in 1947 as a volunteer art teacher in Toluca, Mexico, she used her bare hands to weave wire into her most celebrated sculptures—sheer columns of voluminous, interlocking shapes that appear to float as they hang from the ceiling. “For artists looking at Ruth Asawa today, she’s a model of making work that transcends category,” says San Francisco Museum of Modern Art curator Rachel Jans. The sculptor shaped wire in space to evoke pencil on paper, dissolving distinctions between sculpture and drawing. Meanwhile, her crochet-like process, which often left her hands nicked and cut, introduced so-called “craft” to the realm of fine art. The mesmerizing contours and boundary-blurring techniques of Asawa’s wire sculptures, which are on view in “Lineage: Paul Klee and Ruth Asawa,” at SFMOMA and will be shown at David Zwirner gallery in New York this fall, are distinctly her own; they embody the singular inventiveness of an artist gifted with enormous vision and little means. Asawa was born in 1926, the eve of the Great Depression, in Norwalk, California, where her Japanese-born parents rented a small farm. Asawa and her six siblings grew up working in the field until the traumatic events of World War II, when 120,000 Japanese-Americans were forced into squalid internment camps. Asawa, then a teenager,
Installation view, “Ruth Asawa” at David Zwirner New York, 2017.
PHOTO BY EPW STUDIO/MARIS HUTCHINSON; ARTWORK © ESTATE OF RUTH ASAWA, COURTESY DAVID ZWIRNER
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Asawa developed a wide-ranging, INTERDISCIPLINARY practice of painting, drawing, and cast sculpture, but her unparalleled WIRE WORKS continue to be her best known.
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Hit the
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Slopes A LUXURY SKI VACATION IS ALWAYS IN STYLE. PHOTO BY GRANT GUNDERSON; COURTESY CMH HELI-SKIING
WE’VE ROUNDED UP FIVE CLASSIC SKI DESTINATIONS THAT HAVE SOMETHING NEW TO OFFER THIS SEASON. By Shivani Vora
Turn the page to see why heli-skiing is on every snowseeker’s bucket list.
Come winter, there are two camps: the beach-bound and the ski-set. And while we love a little seakissed time in the sun, there’s an everlasting allure to a classic ski vacation that just can’t be beat. “Ski trips never lose their appeal, no matter how many times you’ve taken them,” says Monique Thofte, a partner at MAYAMAYA, a New York-based boutique luxury travel company. “There’s a destination for everyone—from bunnies to skilled backcountry skiers.” We’ve honed in on five categories to help guide your next adventure— whether you’re in it for the ski, the scene or the scenery. BAL HARBOUR 209
COURTESY AMANGANI; CALDERA HOUSE
The spa at Amangani offers reinvigorating rituals to suit the season.
FOR THE PRO
Jackson Hole With more than 2,400 acres of slopes and snow that reaches 12 feet deep, Jackson Hole is for the serious skier. “Experienced skiers are going to be very happy here,” says Thofte, “yet it also has a broader appeal—from the stylish western town of Jackson, to the quaint Grand Teton Village, it has loads of soul.” Among the top-rated accommodations is The Four Seasons Resort and Residences, Jackson Hole, which is ideal for families and has an incredible kids program. Then there’s the more intimate Caldera House, which this season is introducing a day on the slopes with professional skier and local legend Griffin Post, who will lead guests through some of his favorite lines and secret spots. With two- and four-bedroom suites, as well as a spa, yoga studio and in-house ski shop, the property has lots to offer, including a well-connected concierge who can orchestrate excursions such as glider flights above the Tetons, stargazing and trips to Yellowstone National Park. With its all-suite accommodations set amid the wilderness, Amangani is a popular choice for couples. The resort’s new Winter Adventures in the Wild experience is a romantic escape for animal lovers and includes a four-hour sunrise or sunset wildlife tour in a BMW X7. Guests can also choose between a private snowshoe hike and a sleigh-ride tour of the National Elk Refuge, home to more than 10,000 elk in winter. 210 BAL HARBOUR
A cozy outdoor dining nook at Caldera House.
After a day of UNFORGETTABLE snow-drenched experiences, one can return to their luxurious lodge where the ONLY decision left to make is what time to take in that massage. FOR THE SCENE
COURTESY LITTLE NELL; PHOTO BY GRANT GUNDERSON (CMH HELI-SKIING)
Aspen Aspen, according to Thofte, checks all the boxes for a perfect ski vacation. “You have skiing to satisfy all levels, a sophisticated crowd and fantastic culture, arts and food,” she says. With four ski resorts and a bevy of museums and art galleries, including the renowned Aspen Art Museum, and a long list of buzzy restaurants, Thofte is spot on. Downtown Aspen, with its dozens of designer boutiques, is another draw. Visitors have even more to look forward to this season: it’s the 75th anniversary of skiing in Aspen and there will be a series of events to celebrate, while the alreadyvibrant restaurant and après selection gets even more of a boost with several new additions such as Catch Steak, the sister of the famed New York seafood spot, and The Board Room, a den-like speakeasy at The Little Nell. On the hotel front, Aspen Street Lodge—a stunning property with nine rooms, a two-bedroom penthouse, a pool, game room and expansive terrace—opened earlier this year in downtown. Available for buyouts only, it’s the place to stay when you’re traveling with a group of friends or family in tow.
The Little Nell remains one of Aspen’s most celebrated hotels.
FOR THE BUCKET LIST
Heli-skiing, British Columbia Looking for a heart-pumping adventure? Heli-skiing, says Thofte, is truly a bucket-list worthy experience, and there’s no better place to go for the thrill than Canada, which offers endless terrain for the sport. Thofte recommends booking your getaway with CMH Heli-Skiing & Summer Adventures, a high-end travel company founded in 1959 that claims to have invented heli-skiing. It offers trips in 11 backcountry areas throughout the country that total more than three million acres of virgin snow. Guests, who are spoiled with awe-inspiring scenery and a perspective unlike any other, get to ski in small groups and never have to wait in a lift line. To make these adventures even more seamless, CMH maintains its own lodges in these remote regions so that after a day of unforgettable snow-drenched experiences, one can return to their luxurious lodge where the only decision left to make is what time to take in that massage.
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FOR THE APRÈS
Dolomites
COURTESY ROSA ALPINA
Three hours north of Milan, the Dolomites bills itself as the world’s largest ski region. It has 12 ski resorts, more than 745 miles of slopes, around 700 miles of cross-country trails, and altitudes between 5,000 and 10,000 feet. With its pristine landscape that includes jagged limestone alps and untouched snow, it’s no wonder that this part of Italy is a UNESCO World Heritage Site. The Dolomites offers magnificent skiing but isn’t necessarily for the hardcore, says Thofte. “It’s emblematic of la dolce vita,’” she says. “There is this great balance of skiing with long, pleasurable meals and lots of wine.” The Dolomites is known for its après scene, where skiers stop in refugias or mountain huts in between runs for a glass of red wine or a refueling plate of local meats and cheeses. In fact, the area’s gastronomy is world renowned, with 25 Michelin stars spread among 20 restaurants. Don’t miss the three-starred St. Hubertus, where Chef Norbert Niederkofler uses seasonal ingredients to prepare modern versions of regional dishes. To stay, the cognoscenti know to check into the family-run yet notably high-end Rosa Alpina, which recently became an Aman partner hotel.
The penthouse suite at Rosa Alpina features a Finnish sauna overlooking the area’s pristine landscape.
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APRÉS SKI
We’ve pulled some of the best cozy looks to keep you on-fashion when you’re off-slope. The great Matterhorn, one of the tallest peaks in Europe.
Tod’s Shirt bag; 305.867.9399
FOR FAMILIES
Zermatt Zermatt, a charming car-free town in southern Switzerland, is known for some of the best skiing in the world, with more than 220 miles of runs for all levels and 54 lifts. In addition, the ski area around the Matterhorn has pistes up to 12,700 feet above sea level—the highest in Europe. “It’s a classic first-time European ski experience that both adults and kids will enjoy,” says Thofte. “The car-free town has this quintessential and authentic Swiss Alpine style. It’s easy to explore on foot or you can take a horse-drawn carriage.” The big news this season is that the town is opening a new ski lift that will complete an “Alpine crossing” by connecting the Klein Matterhorn to Testa Grigia in Italy’s Aosta Valley for the first time. Also, the iconic Schweizerhof hotel recently reopened with fresh look following an extensive renovation. Designed in an Alpine-chalet style, it has five restaurants and a spa with a hammam and three saunas. The kids club, with its arcade games and climbing wall, is exceptional. Families should likewise consider Mont Cervin Palace, which has been welcoming guests since 1852. All the rooms have stunning views of the Mischabel mountain chain, the Edelweiss, or, of course, the Matterhorn. The spa offers an indoor and outdoor heated pool with a separate kiddie pool, and the children’s club includes a kid’s kitchen, craft corner and games.
The Dolomites gastronomy is world renowned, with 25 MICHELIN stars spread among 20 restaurants in the region. Zermatt, meanwhile, offers a CLASSIC first-time ski experience for children and adults alike.
A look from the Ermanno Scervino Fall/Winter collection; 305.867.9399
Moncler Snow bag; 786.477.5343
Moncler beanie with pom pom; 786.477.5343 A look from the Miu Miu Fall/Winter collection; 786.785.7667 Chloé boots; 305.861.1909
Valentino Atelier boots; 305.867.1215
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ALL IMAGES FROM GRAY MALIN: THE ESSENTIAL COLLECTION © GRAY MALIN. WWW.GRAYMALIN.COM @GRAYMALIN.
E The La Fontelina from Above, Capri from the new book, Gray Malin: The Essential Collection
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scape GRAY MALIN has been taking us to far-off places for the last decade. A new book celebrates his otherworldly pursuits. BY REBECCA AARON
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Positano Beach Vista; below, Beach Ball Splash, both from Gray Malin: The Essential Collection, available at Books & Books, Bal Harbour.
G
ray Malin’s photography is beyond distinctive. His fearless, deliciously colorful images span natural wonders and iconic landscapes across seven continents. His new book, Gray Malin: The Essential Collection, captures the entirety of his 10year career—from the fantastical pool floats spotted in the arctic to the candid aerial shots of tanning beachgoers. We caught up with Malin to get a peek behind the lens where traveler and artist converge to create a lasting impression that is unmistakably his own.
Congratulations on the gorgeous book, I’ve been a fan for a while! Why this book now? Was it planned pre-Covid, or was the lockdown an opportunity to archive and organize this title? This book celebrates a decade of my work, from the humble beginnings of selling at a Los Angeles flea market to traveling the globe to capture some of the world’s most incredible destinations. Creating a retrospective like this has been a long-term dream of mine that I began working on prepandemic, but I was able to really focus on finishing it during 2020. You photograph water in its various forms. Is there a quality of water you are trying to capture and where did this fascination with water come from? The fascination is more so with colors and patterns, and how the water color, the movement of the waves and the shoreline interact with each other and the elements around them. Whether that be colorful umbrellas and beachgoers or a lush jungle on the other side of the sand, I’m fascinated by how water, especially from an aerial perspective, looks absolutely spectacular.
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There are so many elements to your photos—from the number of subjects to the number of pool floats. How do you make sure that all of these moving parts are in the right place or how long do you wait for the right moment? This question will be best answered in two parts. None of my aerial shots are preplanned, in terms of organizing what is going on down below that I am going to capture. I try to make them as candid as possible, and that is the beauty of it. However, there is a whole other body of my work that is conceptualized and takes a lot of production and planning, such as the projects Gray Malin at the Coral Casino, Poolside Mediterranean and Far Far Away. For these series, I have an entirely different process that ranges from hiring models, gathering props and wardrobe, creating mood boards and crafting each detail of the images. The colors in your photos are so delicious. Do you have a color palette in mind when you begin? Do you ever color correct your images? I really try to let the natural colors of the destination, scenery or objects I photograph shine with my images. The point is to highlight the exceptional beauty of the location. On the other hand, with projects that are more produced and conceptualized ahead of time, choosing color palettes after location scouting and concept boarding is a must in order to have a cohesive collection. A fun color related anecdote from one of the series featured in my book, Far Far Away, is that this set of images was photographed in the Bolivian salt flat Salar de Uyuni. The color temperature reaches 10,000 kelvins in this location, making objects appear brighter than normal—just like how photographers use a flash when shooting fashion to make
everything smoother. The color palette for this series became all the more fun given that objects would come out brighter and more colorful in the images because of these conditions. That is a perfect example of how the concept of the series or the conditions of the setting can really dictate the colors I am choosing. With contemporary photography trends constantly changing, how do you manage to keep your images and themes so timeless? My philosophy is to keep making work that I would want to purchase and that I know my audience will enjoy. I always want my photographs to feel like a getaway, something that people want to put up on their walls to look at every day and to inspire them to take that trip or go for that adventure. It is important to me to create images that will never go out of
style. Sometimes this also means looking to the past and creating something that is reminiscent of the luxurious yesteryear. Nostalgia is a huge theme for me and reimagining the past as even greater than it was is a powerful exercise. What do you want to photograph next that you haven’t before? My next series is titled Dogs of New York City and it features various dog breeds in some of the most iconic destinations in NYC, including Rockefeller Center, The Plaza Hotel, Central Park and Bergdorf Goodman. With New York City as my muse, I created a fantasy world of fashionable dogs exploring these destinations. This series allows us to celebrate the joy of a picnic in the park, a luxurious hotel stay, and a lavish shopping spree with a pack of adorable furry tourists outfitted in retro accessories.
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A HISTORY OF
ELEGANCE. Bal Harbour Shops - 9700 Collins Ave, Store 150
Diptyque has expanded its offerings in recent years to include objects ranging from ceramic tabletop items and torchblown glass tumblers to Portuguese porcelain trays and the most exquisite candle holders.
PHOTO COURTESY OF DIPTYQUE
I
And Then There Was Light SIXTY YEARS IN THE MAKING, LEGENDARY FRENCH CANDLEMAKER DIPTYQUE FORGES AHEAD WITH AN EXPANSIVE NEW LINE OF HOME GOODS AND LIMITED-EDITION SCENTS, LAUNCHED JUST IN TIME TO ROUND OUT ITS DIAMOND ANNIVERSARY. By Samantha Brooks
n 2018, as a guest on Stephen Colbert, writer and satirist David Sedaris—age 61 at the time— famously shared some insights from his commencement speech at Oberlin College. “I started keeping a list of my wisdom. Part of it is, you have to be really careful about scented candles. There’s really only two kinds worth having. And if you don’t get those two kinds of scented candles, you have to go without. It’s a hard lesson to learn,” he shared. One of his brands that made the cut? Diptyque. As some of us have learned the hard way, not all wax-and-wick vessels are created equal. When it comes to crafting Diptyque’s coveted treasures, the process is much more stringent than what goes into the kind that hold your nose for ransom while in the checkout line of the drugstore. For starters, it takes two days to make each 190g, 60-hourburning bougie, which is crafted almost entirely by hand. Fragrance concentrate, wax and wick are all carefully considered and balanced to provide the optimal scent diffusion. Simply translated, it’s the difference between elegantly wafting your home with your signature scent and hitting your guests over the head with it. The singular names given to each of the 40-plus scents in the candle house’s fragrance library are almost misnomers, as each scent is the result of a careful blend of natural ingredients that together create something inspired by nature but also thoroughly artisanal. Take for instance their best-seller Baies, which is not just the fragrance of blackcurrant berries, but also freshly picked leaves and accents of rose. Even the most novice of candle consumers will appreciate the maison’s scent of Vanille. Here, the scent is given a spicy edge, derived from black vanilla pods, which take months to come to fruition and bear a leathery undertone with smoke accents that give it an almost masculine profile. But candles are only one of many coveted creations from Diptyque, and their latest creations harken back to the brand’s early days at 34 Rue de St. Germain, when three friends in different creative industries opened a shop and were described as “merchants of nothing, merchants of everything” (imagine a curio filled with finds ranging from French fabric to paper lanterns from Germany to Indian incense). The brand has expanded its offerings in recent years to release everything from ceramic tabletop items and torch-blown glass tumblers to Portuguese porcelain trays and the most exquisite candle holders. Sure, the hand-drawn labels and delicate glass of the signature vessels are stunning on their own, but when placed in a limited-edition gold bronze objet created by Italian artist Osanna Visconti, they are truly elevated home accessories. And, to honor their 60th anniversary this fall, the brand is celebrating its three founders with Le Grand Tour collection, featuring a slew of new and limited-edition scents inspired by cities like Byblos, Kyoto and Venice. Expanded ranges of decorative objects, tableware and textiles are also part of the celebratory collection, which is as eclectic and artistically minded as Diptyque’s founders.
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THE CLUBHOUSE APP MAY OR MAY NOT HELP YOU FIND LIKE-MINDED PEOPLE, BUT AT LEAST IT’S ENTERTAINING. By Bill Kearney
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ILLUSTRATION BY AMALIA RESTREPO
You’re Not Alone
ho among us doesn’t like to eavesdrop, or a least sneak into a conversation where someone important is talking? That’s kind of what it’s like to use Clubhouse, an audio-only app where you can pop into “rooms” where people are chatting about different subjects, from NFTs to fashion collabs to French bulldogs. Once in a room, you can simply listen, or you can raise your hand and partake. You can also start your own room, which makes you a moderator with the ability to invite people and control who speaks. “I was in a room the other day and Paris Hilton showed up,” says publicist Daniel Bee. “She spoke eloquently and positioned herself in the NFT world with a bunch of good people. It’s exactly like an online conference that we can all attend for free.” Bee, an early adopter of the app, has pivoted his services to include connecting brands with entertainment influencers on social media, including Clubhouse. “Every legacy brand wants to get to their audience,” he says. “Clubhouse might have a room of only 500 people, but it’ll be the right 500 people. It’s almost like narrowcasting as opposed to broadcasting.” The app is the brainchild of two tech startup veterans, Paul Davidson and Rohan Seth. They didn’t know each other when they both attended Stanford, but they later collaborated on Seth’s nonprofit, Lydian Accelerator, which is named for Seth’s daughter, Lydia, and works to advance cures for children with genetic diseases. After bonding over the nonprofit, they knew they wanted to work together on a startup, but were hesitant to dive into the unpredictable social media landscape. As they pondered what problems their startup should solve, they kept coming back to the power of audio, particularly with the advent of AirPods. Though podcasts were wonderful, they were hard to produce, and Davidson and Seth were attracted to the sense of connection and interaction possible with live audio. “We kept coming back and saying, ‘How do you fix that?’” said Davidson recently on NPR’s How I Built This with Guy Raz. “And we eventually said, ‘Dammit we have to build a social app again.’” From there things happened quickly. Clubhouse launched in March of 2020 with an invite-only policy, and took off among those in the know. It opened to everyone last July, and at press time, Clubhouse was seeing more than 600,000 rooms created each day. When I first logged onto the app, I didn’t hunt for Paris Hilton, but I did wander the halls, as it were, peeking my head into panel discussions that I was not explicitly invited to. I felt a little sneaky. The first room was full of fashion insiders deep into the topic of luxury brands using NFTs and collaborating with musicians and streetwear designers to connect to a younger audience. They politely debated who’s too big (Pharrell Williams) and who’s just right (Tyler, the Creator). After that I couldn’t resist dipping into a room about why men cheat on good women. When a man complained that women can’t handle the idea of a threesome with their best friend, the room did not stay quiet, but the debate was remarkably civil. I moved on to a chat on sustainability leadership. Everyone seemed smarter than me, which gave me a sense of hope. The largest room I encountered that day had a whopping 740 listeners, attracted, it seemed, by a famous business coach. Talk flowed to vaccines. Marketeers name dropped their miracle cures; business coaches pontificated about immunology; a chiropractor made an absolutely loony anti-vax claim. No one questioned him. The moderator praised the room for being a “safe space.” I hit the “leave quietly” button. In need of a mood boost, I perused my options, found the room devoted to French bulldogs, and headed in. Problem solved.
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BEAUTY
and the Lure ALISON HAWTHORNE DEMING, THE GREAT-GREAT-GRANDDAUGHTER
OF NATHANIEL HAWTHORNE, HAS WRITTEN NUMEROUS BOOKS ON THE HUMAN CONNECTION TO THE NATURAL WORLD. HER LATEST TOME, A WOVEN WORLD, TAKES ON THE DISAPPEARANCE OF CRAFTSMANSHIP IN THE MODERN WORLD BY INTERROGATING HER OWN FAMILY’S HISTORY OF COUTURIERS.
A Woven World begins inside a slumping cottage on Grand Manan, a remote island off the coast of New Brunswick, Canada, that has been in Alison Hawthorne Deming’s family for generations. From there, it spins out into a wild and whimsical tale of the nature of craftsmanship and the value we assign to material objects. Deming weaves disparate threads, including the story of a sequined YSL “sardine dress,” into a shimmering tale of beauty and loss that reminds us all to appreciate what we have before it is gone. We spoke on the phone about the origins of the book and the future of craftsmanship. Why is the preservation of craftsmanship so important to you? I’ve spent every summer since I was a child on this small island in the Canadian Maritimes and, every summer, I’ve watched men—they’re almost all men—build these beautiful herring weirs along the shores. Throughout my life, I’ve witnessed that enterprise diminish. There used to be 100 of these structures around the island and now there are only 9 or 10. I felt that this was something that was going to leave the world, and that I was going to miss it profoundly. I’m always fighting against this radical loss that we live with—losing animals, losing places, losing a sense of confidence in the future. Anyone involved in making gives me hope that we do have the ability to carry these skills on, and that inspires me. It seems to me that the purpose of the book is to celebrate the beauty and
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mastery that can be achieved through craftsmanship, but often this sentiment is conflated with loss. Why is that? It used to be that people made things out of necessity, but now it’s not out of necessity, it’s out of choice. A big part of the reason for that loss is the global capitalistic rampage that drives these small enterprises out of business. But, if you start practicing some kind of craft, you come to realize it’s much more meaningful to make something for yourself than it is to buy it from a store. Making isn’t cherished as much as it used to be. People have forgotten that making things is a beautiful part of being human. How can we all become better stewards of craftsmanship in our own lives? Supporting craftspeople is one way; another
one is just to try things. Everybody should think about what kind of making gives them pleasure. It could be making in the garden, or making in the kitchen. During Covid, a lot of people were cooking more than they’d ever done and finding pleasure in that. We should always start by thinking, “What in my life have I done as a maker that brought me joy and pleasure?” Many of us probably have parents or grandparents who were quite skilled as makers. We can look at what our ancestors did, that we no longer do, and see if those crafts are anything we might want to try our hand at. A minimum, we should be sharing those stories with one another, so that we begin to remember that these things are precious. I don’t have a prescription for how people should live their lives; I just know we lose something very soulful when we lose our inventiveness and creativity. Where do you find hope for the future of craftsmanship? I make a decision to be hopeful. In spite of all that’s being unmade in the world, if you look at the history of human beings and how we’ve been able to solve problems through our makers’ skills, you’ll see we are a very inventive species. That gives me hope. Some of the things we created have been destructive and we’ve learned later about the consequences. My hope comes from understanding the twofaced nature of making—how it can be used for good and bad—and saying, “I’m going to commit myself to making something that creates beauty, community and brings pleasure to my daily life.”
IMAGE COURTESY COUNTERPOINT PRESS
By Isabel Slone
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